Cyrano Evidence
Aim
To prove authoriship of the music from Cyrano De Bergerac.
Index
-
xxx
-
Here
-
here
-
here
-
Here
-
Summary. Glossary is the full body. Clear and obvious case.
Testimonies
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
— Rachel Dawson. Actor Musician (Cellist) and cast member
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
— Nick Lee. In House RSC Musician (Strummed Instruments) in the band
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
— Oli Grant. Actor Musician (Violin/Mandolin) and cast member
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
— James McAllister. Stage Manager for Cyrano
“The mix of video and written content makes everything feel accessible.”
— Jin Theriault. In House RSC Musician (Woodwind Instruments) in the band
Pre-rehearsals
20/08/2025
Timeline of Process
Simon will join the chat and we can discuss expectations and boundaries for what can be asked, if that makes sense?
Cue for Cue Authorship
Act One
↓
Act One ↓
1.Opening/1.1 Bulrushes (THIS IS NO GOOD - ITS WHITE FLAG MUSIC?)
Press Night Timestamp: 0:07:41
Alex Delivered Music on 10th September
Claim: Co-composed by Alex and Josh
Evidence:
Alex’s Email - on delivery of his version 1.1 of the cue (since deleted from Dropbox). Full email here ←
Video: Cyrano Act 1 Run 06-09 (new) (6th September) (link to videos here)
0:00:50 - Opening chord squence (bars 1-6) in A major
Recording “Working out War BEAUTIFUL” (17th September) (BETTER FOR ENDING ARGUEMENT)
6:02 - Simon giving us direction, requesting musical material
6:16 - Josh says “I’ve got an idea” and introduces the music that we hear in bars 1-6 in Eb major
6:47 - Idea is clearly established and played by Josh, Oli, Rachel.
Alex was not present in rehearsals when this was recorded
Evidence 2.1 - Alex’s piano recording
2. Paris Floods
Press Night Timestamp: 0:13:47
Claim: Composed by Josh (harmonic outline supplied by Alex)
Rationale:
On 3rd September, Alex supplied a three-chord piano progression (D–Bm–C). The full cue as heard in the final performance is played in rehearsal on 6th September. This demonstrates significant musical development from the initial harmonic outline was created in rehearsal by Josh, who also created the structure, instrumental parts, and arrangement. Josh produced and circulated a rehearsal score (7th September) and a final performance score. Alex was not present for the delivery of the intial three-chord piano progression, nor for its development from a piano reduction to a full cue in the rehearsal room.
Evidence:
Alex piano recording (3rd September), cut from 00:53 to end. (Evidence 2.1)
A short piano recording containing a three-chord sequence (D–Bm–C), forming the harmonic basis of the cue.
Video: Act 1 Run – 06-09 (new) (6th September), 0:06:27 (link to videos here) (Evidence 2.2)
Full cue, harmonically, tonally, and structurally consistent with the Press Night performance. Performed in rehearsal, built from the three-chord progression.
Josh Rehearsal Score (7th September) (Evidence 2.3)
Notated rehearsal score documenting the developed structure and instrumental writing following in-room creation.
Screenshot – circulation of rehearsal score (7th September) (Evidence 2.4)
Evidence of Josh sharing the notated rehearsal version with Oli, Rachel, and Alex, documenting authorship and development process.
Josh Final Score (Evidence 2.5)
Fully notated performance score demonstrating complete orchestration and development of the cue. No equivalent full score from Alex exists for this cue.
Rehearsal context (Evidence 2.6)
Alex was not present during the rehearsal sessions in which the cue was developed.
3. Montflury
Press Night Timestamp: 0:18:00
Claim: Co-composed by Alex and Josh / musical arrangement by Josh
Rationale:
The cue is harmonically derived from three-chords in Alex’s song The Words I Know (not used in final show). When this section was reached in initial rehearsals (and subsequent run-throughs), no original theatrical arrangement or cue had been supplied by Alex, despite repeated requests from Josh.
In order to meet rehearsal needs, the cue points, musical arrangement, structure, and comedic musical elements were developed in rehearsals by Josh. Josh initiated the instrumental concept prior to the start of rehearsals and notated the working rehearsal cue and final score. Alex did not supply any arrangement for this cue and was not present during its initial rehearsal development.
Evidence:
Email (4th August) - Instrument Request for Clapham Rehearsals (Evidence 3.1)
Pre-rehearsal correspondence from Josh outlining specific requests for unusual and toy instruments, evidencing early conceptual planning for the comic musical texture of this scene
Audio Message from Josh to Alex (WhatsApp) (14th August) (Evidence 3.2)
First request of musical ideas for this moment - "I was resorting to mouth trumpet... If there's any sounds or any styles or any placeholders that I can mimic for now, whilst you're creating stuff... let me know.
Alex's Song - "The Words I Know" (DATE?) (Evidence 3.3)
Song shared by Alex as general musical material during the rehearsal period. The recording was not delivered as a specific cue or theatrical arrangement for this moment, but as broader source material that might potentially be used elsewhere in the production.
Audio Message from Josh to Alex (WhatsApp) (27th August) (Evidence 3.4)
Josh updating Alex with the comedy interruptions and instrumentation that were created in Alex’s absence, and appear in the final performance
Audio Message from Josh to Alex (WhatsApp) (3rd September) (Evidence 3.5)
Second request of music for this moment - "maybe you can steer us in the right direction... with this opening music as we enter the space... we could also just keep on going round and making more stuff... I think, probably, I can outline some chords...”
Video: Act 1 Run - 06-09 (6th September), 0:12:54 (Evidence 3.6)
Performance of the cue in its developed theatrical form. This arrangement does not appear in any score supplied by Alex.
Josh Rehearsal Working Cue (Evidence 3.7)
Documentation of the developed structure, timing, and use of comedic instrumental effects (including novelty/toy instruments).
Josh Full Score (Evidence 3.8)
Complete performance score detailing arrangement, orchestration, and structural shaping for the cue.
Rehearsal context (Evidence 3.9)
Alex was not present when the theatrical arrangement was devised in rehearsal.
4. Valvert Fight
Press Night Timestamp: 0:27:17
Claim: Composed by Kev (musically directed/arranged by Josh)
Rationale:
This cue was developed in response to a directorial request. There is no musical material supplied by Alex for this moment. The core musical content originates from Kev’s working script, with shaping and musical direction led by Josh. Email correspondence confirms Alex acknowledging Josh’s development of the cue.
Evidence:
No material from Alex (Evidence 4.1)
No draft, recording, or score exists from Alex for this cue.
Kev’s Working Script (Evidence 4.2)
Script documentation containing detailed cue structure and musical timing, forming the compositional basis of the scene.
Email from Simon to Alex and Josh (Evidence 4.3)
Directorial request: “Something when Roxane offers the first ‘U’ in the fight, which then sits under the fight.”
Email from Alex to the band (Evidence 4.4)
Message thanking Josh on creating the cue.
5. Valvert Death
Press Night Timestamp: 0:21:30
Claim: Devised by the Full Band in Band Call (led by Josh)
Rationale:
An initial score (V1.1) supplied by Alex consisted of a single sustained note, which does not reflect the final cue. During a subsequent band call session, the cue was abandoned, and a new cue was devised in the room, featuring extended instrumental techniques. This was incorporated into a newly shaped structure under Josh’s musical direction.
A later score from Alex (V2.1) reflects transcription of part of that devised material but does not include the full performed cue.
The material performed from bar 5 onwards (continuing under Roxane and Cyrano’s first conversation, see Josh’s score) was composed in rehearsals by Josh, at Simon’s request. This is confirmed in an email from Alex.
Evidence:
Alex Score V1.1 (Evidence 5.1)
Initial notated version consisting of a single sustained note, now unavailable on Dropbox. This version was not retained in performance. Please request V1.1 from Alex or seek testimony from band.
Band Call Development (Date TBC) (Evidence 5.2)
Cue reworked collaboratively during a band call session. Led by Josh, extended techniques (specifically bass clarinet multiphonics) were explored and became the feature of the cue, from which Josh created the structure, tonality and instrumentation that became the performed version on press night.
Alex Score V2.1 (Evidence 5.3)
Later notated version reflecting part of the devised material. This version omits the second half of the cue (bar 5 onwards), which continues under the subsequent dialogue. The score pictured is Alex’s final version, from Kev’s performance score.
Video: Act 1 Run – 06-09, 26:50 (Evidence 5.4)
Rehearsal footage demonstrating that the second half of the cue existed in performance prior to formal notation.
Email from Simon to Alex and Josh (Evidence 5.5)
Directorial request: “Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.”
Email from Alex to the Band (Evidence 5.6)
Message thanking Josh for creating the cue.
Press Night Performance Score (Josh) (Evidence 5.7)
Full score as performed, including sections and instruments not present in Alex’s transcription.
Band Testimony (Evidence 5.8)
Confirmation from band members regarding the in-room creation process during the band call.
Evidence 6.5 - Josh’s score for solo accordion, as performed on Press Night
6. Golden Hour / I Feel Spring
Press Night Timestamp: 0:33:55
Claim: Composed by Josh
Rationale:
This cue was created in rehearsal in response to a direct request from the director for music under Cyrano’s speech. No original material, sketch, or arrangement was supplied by Alex for this moment.
The cue is a solo accordion number. No accordion parts were written or delivered by Alex for the production as a whole.
Josh created the harmonic material, melodic content, structure, and full instrumental conception of the cue.
Evidence:
Absence of Delivered Score from Alex (Evidence 6.1)
No score, sketch, or arrangement supplied by Alex for this cue.
Instrumentation Evidence (Evidence 6.2)
The performed cue is a solo accordion work. No accordion writing was delivered by Alex for the production.
Email from Simon to Alex and Josh (Evidence 6.3)
Directorial request: “New Cue: Under Cyrano’s speech about walking in the park with Roxane.”
Email from Alex to the Band (Evidence 6.4)
Message thanking Josh for creating the cue.
Press Night Score (Josh) (Evidence 6.5)
Full score as performed
Press Night Performance Video – 0:33:55 (Evidence 6.6)
Final performed version of the cue.
-
More cues
Simon Evans<simonevans25@icloud.com>
Alex (Sascha/Aldous) Baranowski
You; Lydia McKinley;
Lorna Earl
Hello guys,
Forgive the brevity of this, just running into rehearsals. The summary is that the music is so good I think we need a few more. Here are some notes and new cue points.
S
x
—
Shorter entrance music with Montfleury
New Cue: Something when Roxane offers the first “U” in the fight, which then sits under the fight.
New Cue: Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.
New Cue: Under Cyrano’s speech about walking in the park with Roxane (“Sometimes- I could. Warm evenings. Soft. I don’t know. But..”)
New Cue: Before Roxane leaves in Act 2 (from “Thank you. I should go. You never told me your story. Your fight. With the giants.”)
New Cue: In Cyrano/Christian scene after
CYRANO
I’d let you borrow it,
And if I had your looks-
CHRISTIAN
I’d give you them, sir.
CYRANO
And I’d take them.
(Ping. Light bulb.)
Can you start playing after “Who the hell are they?” Rather than over the line. Shall give Adrian than note too in terms of him cueing you.
Can the music stop abruptly when Cyrano says “God no” from under the balcony.
Can the cue under his “I see you” start simpler, smaller. One instrument perhaps. Then other grow as he grows in confidence.
New Cue: Under the entrance of the nuns.
New Cue: When De Guiche decides to stay (and under the offer of the food).
Can the music continue longer under the transition into Act 5.
-
Cyrano Music
Alex Baranowski<alexbaranowski@gmail.com>
You
kev.Waterman@rsc.org.uk; nick.Lee@rsc.org.uk; jin.theriault@googlemail.com;
Hi all,
Just wanted to say a HUUUUGE thanks for today. We're in such an exciting and beautiful place. All thanks to your incredible work. Thanks especially to Josh who added offerings for all the cues Simon suggested on Tuesday which is above and beyond what I thought possible on our schedule!
I'm going to organise tomorrow's rehearsal to tackle some more specific cues / timings which I'm working on now alongside the video from today's run. I'll give you all a list in the AM and there'll be a few new scores too if that's ok. I should also be able to give you guys an idea of what we might develop over the coming days too so you can have a heads up with any amendments earlier than later. As it's our last call before soundcheck I might be a little more specific than usual tomorrow but nothing is by all means set and as always would love to hear your wonderful thoughts.
If anyone has anything they want to look at tomorrow do let me know!! Very aware we didn't get to the second half today so that's a big priority.
Thanks everyone and see you tomorrow,
Alex
Evidence 6.3 and 6.4 - Correspondance detailing Simon requesting this music, and Alex thanking Josh for creating it.
Evidence 7.5 - Josh’s score for full band, as performed on Press Night (part 1)
Evidence 7.5 - Josh’s score for full band, as performed on Press Night (part 2)
7. To Blaze To Feel Alive
Press Night Timestamp: 0:38:14
Claim: Co-composed by Alex and Josh
Rationale:
On 29 August, rehearsal footage demonstrates that the structure and function of the cue were already established in the room: a gentle legato underscore transitioning into a driving, intensified section. Alex was not present at this rehearsal and later confirmed he had viewed the origins of this cue via rehearsal video.
On 31 August, Alex sent a “purest form” melodic and harmonic idea (piano and melody only), explicitly inviting further development “so you can have your own ideas too and we can figure something out.”
The performed version heard on 6th September contains significant development beyond the initial piano/melody draft, including expanded structure, orchestration, ensemble writing, thematic intensification, and formal shaping consistent with the rehearsal structure established on 29 August by Josh.
The final performed version reflects both Alex’s core harmonic/melodic contribution and substantial structural and orchestral development created in rehearsal by Josh.
Evidence:
Video – Cyrano Act 2 Run (29-08), 00:50 (Evidence 7.1)
Demonstrates established cue structure and function (legato underscore into driving transition) prior to Alex’s delivered draft.
Email – Alex to Josh (31st August) (Evidence 7.2)
Statement: “Loved seeing it on the rehearsal video”, confirming absence from rehearsal on 29 August.
Same Email – Alex to Josh (31st August) (Evidence 7.2)
Provides initial piano/melodic draft and states: “wanted to send to you in its purest form so you can have your own ideas too and we can figure something out.” This indicates expectation of further compositional development in the room from Josh, Oli and Rachel.
Alex’s Score V1.1 (31st August) (Evidence 7.3)
The attached piano/melodic draft.
Video – Cyrano Act 1 Run (06-09) – 36:12 (Evidence 7.4)
Performance demonstrating significant expansion beyond piano/melody draft, with no additional score from Alex in the interim, demonstrating developed orchestration, structure, ensemble writing, and thematic intensification created by Josh, consistent with the Press Night performance.
Josh’s Final Score (Parts 1 and 2) (Evidence 7.5)
Fully orchestrated version matching Press Night performance.
-
Moon theme / Act1-2 Transition
Alex Baranowski<alexbaranowski@gmail.com>
You
Morning!
Sorry for disturbing your Sunday, wanted to share a couple of ideas I've been working on for the transition between Act 1 and 2
It seems like such a beautiful and special musical moment. Loved seeing it on the rehearsal video. Feels like thematically we're about the moon at this point, so feel like I'm going to run with that for this first offering...
The first piece is a stripped down idea melodically for the moon's theme.
The second piece is a rough shape for the Act 1-2 transition. I thought perhaps starting with the underscore of Cyrano's speech with the beginnings of the chords of our song - which then develops into our moon world as the transition builds and the musicians all move onto the centre of the stage.
(obvs I've left out the comedy song at the start for now!)
The chords are
F#m // A/E // D // A
Repeating the same chords and intensifying the melody and arrangement could be really stark and beautiful in that moment I think.... again keeping it a bit simple!
I have lots of thoughts and ideas of how we could arrange this - but wanted to send to you in its purest form so you can have your own ideas too and we can figure something out - first with you three in the room and then thinking about how we could develop it for the rest of the ensemble!
Anyway. Much more to come (probably later today) but wanted to share this now so you can gestate over it a bit!!
Chat soon x
Alex Baranowski
+00 44 (0) 7527 051971
Evidence 7.2 - Email with Alex’s V1.1 cue and musical development proposal
Evidence 7.3 - Alex’s initial score for piano and melody, from which Josh, Oli and Rachel derived the version of the cue in Evidence 7.4
“Thanks especially to Josh who added offerings
for all the cues Simon suggested on Tuesday
which is above and beyond what I thought possible…
- Email from Alex to full band, September 18th. (Evidence 6.4)
“… for the opening -
very much wanting
to keep the DNA
of what you guys created…”
-
Hi Josh
Here's what I've been working on for the opening - very much wanting to keep the DNA of what you guys created. I've stripped back the melody to something a little simpler and made the chords breathe a little... potentially this is something that could mirror the end of Act 5 too...
I love [your] idea of just repeating the "Your Words" two note melody on the violin so that's what I've done here. Less is more etc etc
Ollie's solo feels like we're seeing Cyrano as a boy so I'm thinking that's something that will evolve over these coming days..
I wrote the chord shapes before adding the melody, so we've lost one of our four core notes with Ollie on the solo - for this first pass would you mind taking the Violin part written (not solo) for your right hand on the accordion, just for this first iteration, so we can see where we are in the chord shapes? And then doing something similar to your v1 in the left hand with that beautiful breathing accordion moving along with the chord shapes? I'd love to hear your take on it anyway, this is just the beginning... have a look at the score and tell me what you think. We might be ok with losing the Vln 1 notes all together between the VC, Bass Cl and Euphonium (not forgetting Aluphone & Mando).
Demo and score here -
https://www.dropbox.com/scl/fo/dsqr3u5fpnafdw2c4bqv2/AEJKiiZdOgrGYoLs7cc33Rk?rlkey=jl34b4z8pp1dwc2zgcc8v12j9&dl=0
Thanks!
A x
Evidence 2.4 - Circulation of Josh’s rehearsal score
Evidence 3.7 - Josh’s rehearsal notes
Evidence 3.8 - Josh’s full score
Josh Score →
Alex Score ↓
- Email from Alex to Josh, September 10th.
Evidence 2.3 - Josh’s rehearsal score
Evidence 2.5 - Josh’s final score
Evidence 4.2 - Kev’s script (used in performances)
-
More cues
Simon Evans<simonevans25@icloud.com>
Alex (Sascha/Aldous) Baranowski
You; Lydia McKinley;
Lorna Earl
Hello guys,
Forgive the brevity of this, just running into rehearsals. The summary is that the music is so good I think we need a few more. Here are some notes and new cue points.
S
x
—
Shorter entrance music with Montfleury
New Cue: Something when Roxane offers the first “U” in the fight, which then sits under the fight.
New Cue: Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.
New Cue: Under Cyrano’s speech about walking in the park with Roxane (“Sometimes- I could. Warm evenings. Soft. I don’t know. But..”)
New Cue: Before Roxane leaves in Act 2 (from “Thank you. I should go. You never told me your story. Your fight. With the giants.”)
New Cue: In Cyrano/Christian scene after
CYRANO
I’d let you borrow it,
And if I had your looks-
CHRISTIAN
I’d give you them, sir.
CYRANO
And I’d take them.
(Ping. Light bulb.)
Can you start playing after “Who the hell are they?” Rather than over the line. Shall give Adrian than note too in terms of him cueing you.
Can the music stop abruptly when Cyrano says “God no” from under the balcony.
Can the cue under his “I see you” start simpler, smaller. One instrument perhaps. Then other grow as he grows in confidence.
New Cue: Under the entrance of the nuns.
New Cue: When De Guiche decides to stay (and under the offer of the food).
Can the music continue longer under the transition into Act 5.
-
Cyrano Music
Alex Baranowski<alexbaranowski@gmail.com>
You
kev.Waterman@rsc.org.uk; nick.Lee@rsc.org.uk; jin.theriault@googlemail.com;
Hi all,
Just wanted to say a HUUUUGE thanks for today. We're in such an exciting and beautiful place. All thanks to your incredible work. Thanks especially to Josh who added offerings for all the cues Simon suggested on Tuesday which is above and beyond what I thought possible on our schedule!
I'm going to organise tomorrow's rehearsal to tackle some more specific cues / timings which I'm working on now alongside the video from today's run. I'll give you all a list in the AM and there'll be a few new scores too if that's ok. I should also be able to give you guys an idea of what we might develop over the coming days too so you can have a heads up with any amendments earlier than later. As it's our last call before soundcheck I might be a little more specific than usual tomorrow but nothing is by all means set and as always would love to hear your wonderful thoughts.
If anyone has anything they want to look at tomorrow do let me know!! Very aware we didn't get to the second half today so that's a big priority.
Thanks everyone and see you tomorrow,
Alex
Evidence 4.3 and 4.4 - Correspondance detailing Simon requesting this music, and Alex thanking Josh for creating it.
Evidence 5.3 - Alex’s final score
-
Clapham Rehearsal Instruments for Cyrano
Josh Sneesby
Jessica Crook
Heya Jessica,
Thinking ahead to our Clapham rehearsals... here are some instruments that'd be great to have in the room. And though we start on 11th August, if its logistically easier for you and the team, all of these can come during week 1 instead of pre-rehearsals 🙂
I've split them into two groups. Here's the more practical:
A double bass (and stand)
A semi-acoustic guitar (and stand)
1 or 2 strange alternate violins - like a 5 string violin, nyckelharpa, hurdy gurdy-ish thing... basically anything that looks/sounds a bit like a weird violin (and stands)
a banjo or twangy-er guitar instrument (and stand)
And here's some suggestions for the weird/wonderful category... I completely trust your instinct, so if there's anything that you think is a bit odd or strange that you'd personally be excited for a show to use, I'd love for you to throw it in the mix! Here are a few ideas to get the ball rolling, but there's no need for these specifically, if there's something else you think could work:
Waterphone
Hang/Tongue Drum
Glockenspiel
Trumpet or pocket trumpet
Hand Bells
Tubular Bells
Cajon
Various percussion
'Toy' instruments (a la https://www.youtube.com/watch?v=GXJifYl_byU&list=RDGXJifYl_byU&start_radio=1& rubber chickens - these kinda things)
It'd also be wonderful to have some spare guitar, violin, and cello strings and some rosin, but perhaps that's a different department?
Please let me know your thoughts. If its easier, just give me a call: 07969855517.
Thanks again,
Josh x
Evidence 3.1 - pre-rehearsal instrument correspondence
Evidence 3.2 - First request for music
Evidence 3.3 - Alex’s score for an unused song
Evidence 3.4 - Update from Josh to Alex regarding the musical development of the cue
Evidence 3.5 - Second request for music
Evidence 5.7 - Josh’s final score
-
More cues
Simon Evans<simonevans25@icloud.com>
Alex (Sascha/Aldous) Baranowski
You; Lydia McKinley;
Lorna Earl
Hello guys,
Forgive the brevity of this, just running into rehearsals. The summary is that the music is so good I think we need a few more. Here are some notes and new cue points.
S
x
—
Shorter entrance music with Montfleury
New Cue: Something when Roxane offers the first “U” in the fight, which then sits under the fight.
New Cue: Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.
New Cue: Under Cyrano’s speech about walking in the park with Roxane (“Sometimes- I could. Warm evenings. Soft. I don’t know. But..”)
New Cue: Before Roxane leaves in Act 2 (from “Thank you. I should go. You never told me your story. Your fight. With the giants.”)
New Cue: In Cyrano/Christian scene after
CYRANO
I’d let you borrow it,
And if I had your looks-
CHRISTIAN
I’d give you them, sir.
CYRANO
And I’d take them.
(Ping. Light bulb.)
Can you start playing after “Who the hell are they?” Rather than over the line. Shall give Adrian than note too in terms of him cueing you.
Can the music stop abruptly when Cyrano says “God no” from under the balcony.
Can the cue under his “I see you” start simpler, smaller. One instrument perhaps. Then other grow as he grows in confidence.
New Cue: Under the entrance of the nuns.
New Cue: When De Guiche decides to stay (and under the offer of the food).
Can the music continue longer under the transition into Act 5.
-
Cyrano Music
Alex Baranowski<alexbaranowski@gmail.com>
You
kev.Waterman@rsc.org.uk; nick.Lee@rsc.org.uk; jin.theriault@googlemail.com;
Hi all,
Just wanted to say a HUUUUGE thanks for today. We're in such an exciting and beautiful place. All thanks to your incredible work. Thanks especially to Josh who added offerings for all the cues Simon suggested on Tuesday which is above and beyond what I thought possible on our schedule!
I'm going to organise tomorrow's rehearsal to tackle some more specific cues / timings which I'm working on now alongside the video from today's run. I'll give you all a list in the AM and there'll be a few new scores too if that's ok. I should also be able to give you guys an idea of what we might develop over the coming days too so you can have a heads up with any amendments earlier than later. As it's our last call before soundcheck I might be a little more specific than usual tomorrow but nothing is by all means set and as always would love to hear your wonderful thoughts.
If anyone has anything they want to look at tomorrow do let me know!! Very aware we didn't get to the second half today so that's a big priority.
Thanks everyone and see you tomorrow,
Alex
Evidence 5.5 and 5.6 - Correspondance detailing Simon requesting this music, and Alex thanking Josh for creating it.
Act Two
↓
Act Two ↓
8. Introduce Myself
Press Night Timestamp: 0:43:59
Claim: Composed by Josh
Rationale:
The musical idea for this cue originated in late August via a WhatsApp audio message sent by Josh to Alex. This recording contains the core harmonic structure, melodic shape, pacing, and cue timing that remains consistent with the final Press Night performance.
Rehearsal footage from 29th August confirms that the cue was fully functioning in rehearsals prior to any music being delivered by Alex. A rehearsal prompt created by Josh documents the harmonic structure used in the room. An amended audio version sent on 29th August matches the Press Night version in structure and timing.
Alex’s later email (8th September) acknowledges and responds to Josh’s material, describing it positively. Alex was not present in rehearsals when the cue was created and developed.
The cue was established in rehearsal prior to Alex delivering any material for this moment, and for the show as a whole - this was the first musical idea, created by Josh at Simon’s request for an underscore on that day of rehearsals.
The cue was transcribed by Alex and made available on Dropbox on 22nd September.
Evidence:
WhatsApp Audio Message from Josh to Alex (26th August) (Evidence 8.1)
Original musical idea sent to Alex. Substantially identical to the final performed version.
Proof of Delivery (26th August) (Evidence 8.2)
Confirms date and circulation of original idea.
Video – Cyrano Act 2 Run (29-08), 06:48 (Evidence 8.3)
Cue performed in rehearsal in the same form as Press Night version, prior to any music for this cue delivered by Alex.
Rehearsal Prompt (Created Late August; photographed 9th September) (Evidence 8.4)
Written harmonic outline (G – F – F – F) used in rehearsal and Press Night version
Audio – Amended Version recorded by Josh (29th August) (Evidence 8.5)
Identical to Press Night cue, including structure, timings, and cue lines.
Email – Alex to Josh (8th September) (Evidence 8.6)
Acknowledges underscore and harmonic material composed by Josh.
Screenshot - Upload date of Alex’s score (22nd September) (Evidence 8.7)
Acknowledges underscore and harmonic material composed by Josh.
Rehearsal Context (Evidence 8.8)
Alex was not present when the cue was created and first performed in rehearsal.
”…was about to write to say how
bloody beautiful that section is
for the Cyrano underscore letter
that you put together -
I love the beginnings of those chords
and that repeating F chord..
soul stirring! And feels so wonderful for the scene.”
Evidence 8.4 - Josh’s rehersal prompt for the cue
Evidence 11.9
Evidence 8.1 - The version of the cue sent to Alex from Josh.
Evidence 8.2 - The corresponding Whatsapp message between Alex and Josh
Evidence 8.7 - Alex’s score, uploaded to Dropbox 2 weeks after receiving Evidence 8.1
Evidence 8.5 - The cue, in the same form as Press Night.
Song versions in chronological order
Evidence 11.8
Evidence 11.6
Evidence 11.7
Evidence 11.9
“…if you don’t quite have the headspace
and the time, I can put some stuff together —
especially like Caolan’s song —
that would be a pretty simple enough task for me.
But I don’t want to tread on your toes and,
yeah, I don’t want to compose something
and then have that get fixed
when you’re not happy with it,
or to compose something and
then not have a composing credit…”
-
Re: Smoke and Powder suggestion
Alex Baranowski<alexbaranowski@gmail.com>
You 16:11
Simon Evans
Ha thanks Josh - I have a version of this written too so let's go through with Caolan on Monday and very happy to incorporate some of what you've been working on too. Thanks for this, very impressive!!
Alex Baranowski
On Sat, 6 Sept 2025 at 17:05, Josh Sneesby <joshsneesby@hotmail.com> wrote:
Just a suggestion! Could be fun with the whole gang and Caolan on voice and drums similar to this kinda vibe x
Josh Sneesby
07969855517
-
Re: Arnauld Song IDEA
Josh Sneesby
Simon Evans
Hi all,
I’m very happy to follow your intuitions - whichever you think best introduces us to The Dregs as a group! I’m right behind y’all.
Alex, it seems like you’ve done a 180 on this since when we last spoke (which is no problem!) so it’d be good to clarify what we’re now aiming at so I can support it. Coffee tomorrow before rehearsals?
Thanks again all, looking forward to next week!
Josh x
Josh Sneesby
07969855517
On 7 Sep 2025, at 4:17 pm, Alex Baranowski <alexbaranowski@gmail.com> wrote:
Hi Simon
Happy Sunday!
Thanks a lot for this - yes when I spoke to Caolan it sounded like he was keen on the guitar and I really want him to feel ownership of it, which it sounds like it'll really help with his character..
I think we should definitely keep it if you're happy to. I like what he's done with his version - I have some tweak ideas though, so I might give him an updated offering which would make it work better musically? We can also make it a bit more percussive too..
I asked James for some time with him yesterday so I'm sure we can carve something out tomorrow and then give you an offering before we get to it in the afternoon!
Thanks a lot,
Alex x
On Sun, 7 Sept 2025 at 15:56, Simon Evans <simonevans25@icloud.com> wrote:
Afternoon both,
Had the below from Caolan. Alex, we’ve been having a conversation about Caolan on guitar vs. something more percussive and how that connects him/distances him from the band.
I must say I quite like the idea of him pinching the guitar from Oliver (or whoever) but want to make sure we’re all aligned this end.
He’s also attached an option for the melody! I know you said you had one Alex (and Josh had sketched one out). Let me know what we think of all versions. Would love to either green light his version or give him a different one tomorrow.
Thanks both,
S
Sent from my iPhone
Begin forwarded message:
From: Caolan McCarthy <mccarthycaolan@gmail.com>
Date: 7 September 2025 at 15:41:15 BST
To: Simon Evans <simonevans25@icloud.com>
Subject: Arnauld Song IDEA
Hi Simon,
I’ve been thinking about Arnauld and the guitar, with reference to our conversation on Friday. Beyond the fact that we’ve tracked it in and it’s been successful (so far) as an underscore to Cyrano’s story in Act 2, etc, I do feel my whole character is centred on him being a Mr Bonjangles type, and the “guy with the guitar” in the group. Therefore, I am very keen to keep it in and accompany myself on it for the song, if we can justify it.
Regarding making a language between me and the band, I was thinking that maybe I could nick the guitar off the band (rather than Ollie hand it to me)? That way, I am not separate from their world but am sort of saying, “you call that fancy stuff music? Here’s real music!” It wouldn’t need to be miced, nor would I, as I think this would fit with the acoustic, straightforward realism of Arnauld.
I was playing around with some melody ideas (in place of a tune being written) today and have attached a very rough recording to this email. This is just an offer. I like it as it is an amalgam of every Irish tune I know and very much suits Arnauld and what a group of lads would sing. But, if its not what you envisaged or you don’t think it works - no problem. As I say, it’s just an offer!
Have a nice Sunday evening.
Best,
Caolan
-
Re: Your Act 2 song
Josh Sneesby
Mooorning mate,
I copied them in for schedule things and didn’t even think about the attachments - I’m so sorry.
I’ve not listened to it yet myself! About to do so, with a cuppa.
Chat in a bit - sorry once again.
Josh x
Josh Sneesby
07969855517
On 8 Sep 2025, at 7:51 am, Alex Baranowski <alexbaranowski@gmail.com> wrote:
Hi mate
Was very much a choice not to include Simon in my shitty demos etc 😭
Alex Baranowski
+00 44 (0) 7527 051971
On Sun, 7 Sept 2025 at 23:08, Josh Sneesby <joshsneesby@hotmail.com> wrote:
Hey All,
Thanks Alex. Looking forward to working on this tomorrow!
James and Simon - I’m happy to come in before the 11 swordfighting call and go through it with Caolan, if he fancies.
Caolan - it’s not an official call at all - just an offer if you fancy it mate. If you’d like to spend 20 mins or something with a cuppa and a guitar, just drop me a WhatsApp message tomorrow!
Chat in a bit,
Josh
Josh Sneesby
07969855517
From: Alex Baranowski <alexbaranowski@gmail.com>
Date: 7 September 2025 at 10:04:32 pm BST
To: Caolan McCarthy <mccarthycaolan@gmail.com>
Cc: Josh Sneesby <joshsneesby@hotmail.com>
Subject: Your Act 2 song
Reply-To: alexbaranowski@gmail.com
Hey Caolan
Hope you're good!
So sorry for the late email, hopefully you won't pick this up until the morning..
Wanted to say I've been chatting with Simon today and he forwarded your message. I'm totally with you and echo what I said to you earlier in the week - I really want you to own that song so if you feel like you want a guitar your character then let's do it. You're the one performing it 8 times a week... 😂
I thought what you did was great - I've had a go at re-working it a bit, just to get a bit more of an understanding of some story beats as the words go by so fast and melodically make it fit in our band world a bit more. Hope that's ok. I've recorded a demo but relatively quietly because my kids are both sleeping not too far from my studio (the joys of working at home late and recording a rowdy song!) so please forgive the crap demo but hopefully you can get an idea of a springboard. I'm happy to do another one in the morning!
I've also attached the lyric / rough chart sheet too.
I'm by no means attached to the melody or even tweaking chords etc - really happy for us to discover it together. Shall we catch up sometime tomorrow? I'll be in for the Act 3 rehearsal at 12 and there for most of the rest of the day so I'm sure we'll find a moment to go through it properly.
Thanks a lot!
All very best,
Alex
Alex Baranowski
+00 44 (0) 7527 051971
Evidence 11.3, 11.4, 11.5 - emails with three itterations of Smoke and Powder
13. A Bright Idea
Press Night Timestamp: 1:10:45
Claim: Composed by Josh, Oli, Nick
Rationale:
This cue is an iteration of the Bunnies at Sunrise thematic material - please see the following cue for Josh’s proof of authorship, as these results petain to this cue. There is an additional mandolin part in this cue, composed by Josh and Nick during rehearsal. No score, demo, documentary evidence, or written instrumental parts (guitar, mandolin, bouzouki) were delivered by Alex for this cue. Email correspondence confirms that this cue was specifically requested by the director. An audio recording - identical in harmonic language, structure, and musical character to the version performed throughout rehearsals and on Press Night - was sent by Josh to Alex prior to receiving any music from Alex. This recording represents the first sharing of musical material for this moment within the project. There is significant documentary evidence to demonstrate Josh, Oli and Nick composed this cue, and no evidence to suggest Alex originated compositional material for any itterations of this cue. Furthermore, Alex did not write any parts for guitar, mandolin or bouzouki during the whole process, despite, in this case, the intrumentation for this cue being two mandolins.
Evidence:
Cross-Reference – Cue 14/15 (Bunnies at Sunrise / A2-3) (all Evidence 14)
For proof of original idea, proof of delivery, full rehersal development evidence and acknowlagement from Alex that Josh is the composer, with supporting materials.
Absence of Delivered Score from Alex (Evidence 13.1)
No score, sketch, or arrangement supplied by Alex for this cue.
Instrumentation Evidence (Evidence 13.2)
The cue is a mandolin duet. No scores for mandolin were delivered by Alex for the production.
Josh’s Score (Evidence 13.3)
The only existing version of this cue, scored by Josh
Email - Simon to Alex and Josh (Evidence 13.4)
Directorial request for a “New Cue: In Cyrano/Christian scene after CYRANO I’d let you borrow it… Ping. Light bulb.”
Email - Alex to the Band (Evidence 13.5)
Message thanking Josh for creating the cue
Video – Cyrano Full Run (part 1) 18-09, 1:06:03 (Evidence 13.6)
Cue as performed on Press Night.
-
More cues
Simon Evans<simonevans25@icloud.com>
Alex (Sascha/Aldous) Baranowski
You; Lydia McKinley;
Lorna Earl
Hello guys,
Forgive the brevity of this, just running into rehearsals. The summary is that the music is so good I think we need a few more. Here are some notes and new cue points.
S
x
—
Shorter entrance music with Montfleury
New Cue: Something when Roxane offers the first “U” in the fight, which then sits under the fight.
New Cue: Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.
New Cue: Under Cyrano’s speech about walking in the park with Roxane (“Sometimes- I could. Warm evenings. Soft. I don’t know. But..”)
New Cue: Before Roxane leaves in Act 2 (from “Thank you. I should go. You never told me your story. Your fight. With the giants.”)
New Cue: In Cyrano/Christian scene after
CYRANO
I’d let you borrow it,
And if I had your looks-
CHRISTIAN
I’d give you them, sir.
CYRANO
And I’d take them.
(Ping. Light bulb.)
Can you start playing after “Who the hell are they?” Rather than over the line. Shall give Adrian than note too in terms of him cueing you.
Can the music stop abruptly when Cyrano says “God no” from under the balcony.
Can the cue under his “I see you” start simpler, smaller. One instrument perhaps. Then other grow as he grows in confidence.
New Cue: Under the entrance of the nuns.
New Cue: When De Guiche decides to stay (and under the offer of the food).
Can the music continue longer under the transition into Act 5.
-
Cyrano Music
Alex Baranowski<alexbaranowski@gmail.com>
You
kev.Waterman@rsc.org.uk; nick.Lee@rsc.org.uk; jin.theriault@googlemail.com;
Hi all,
Just wanted to say a HUUUUGE thanks for today. We're in such an exciting and beautiful place. All thanks to your incredible work. Thanks especially to Josh who added offerings for all the cues Simon suggested on Tuesday which is above and beyond what I thought possible on our schedule!
I'm going to organise tomorrow's rehearsal to tackle some more specific cues / timings which I'm working on now alongside the video from today's run. I'll give you all a list in the AM and there'll be a few new scores too if that's ok. I should also be able to give you guys an idea of what we might develop over the coming days too so you can have a heads up with any amendments earlier than later. As it's our last call before soundcheck I might be a little more specific than usual tomorrow but nothing is by all means set and as always would love to hear your wonderful thoughts.
If anyone has anything they want to look at tomorrow do let me know!! Very aware we didn't get to the second half today so that's a big priority.
Thanks everyone and see you tomorrow,
Alex
Evidence 13.4 and 13.5 - Correspondance detailing Simon requesting this music, and Alex thanking Josh for creating it.
-
Re: Cyrano introductions 🎶
Alex Baranowski<alexbaranowski@gmail.com>
You
Ha! Well that's all good, never mind. Worth an ask !
By the way - was about to write to say how bloody beautiful that section is for the Cyrano underscore letter that you put together - I love the beginnings of those chords and that repeating F chord.. soul stirring! And feels so wonderful for the scene. Reminded me of my favourite calm band A Winged Victory for the Sullen..
I think that's another one we might be able to work together with this week - I'll do a bit of scoring this end and playing with melodies and you can let me know what you think..
Alex Baranowski
+00 44 (0) 7527 051971
On Mon, 8 Sept 2025 at 21:29, Josh Sneesby <joshsneesby@hotmail.com> wrote:
FYI
Josh Sneesby
07969855517
Begin forwarded message:
From: Kev Waterman <Kev.Waterman@rsc.org.uk>
Date: 8 September 2025 at 9:12:38 pm BST
To: Josh Sneesby <joshsneesby@hotmail.com>
Subject: Re: Cyrano introductions 🎶
Thanks very much for all the info Josh.
Just to mention that I’m not a keyboard player and I’ve never played celeste before but I’m happy to give it a go.
Looking forward to seeing you tomorrow, Kev Waterman
Evidence 8.6 - Alex’s reaction to hearing Josh’s cue
9. We’re Not Children Any More / Childish, Giddy, Skittish
Press Night Timestamp: 0:51:57
Claim: Composed by Josh
Rationale:
This cue was created during technical rehearsals through in-room collaboration between Josh, Oli, and Rachel. There is no draft, recording, or score supplied by Alex for this moment. The cue follows the same rehearsal-led devising process used elsewhere in the production, with musical material generated in response to specific needs and requests by Simon, in absense of material from Alex. The final score is provided by Josh.
Evidence:
No material from Alex (Evidence 9.1)
No recording, draft, or score exists from Alex for this cue.
Rehearsal/Testimony Evidence (Evidence 9.2)
Please seek confirmation from Oli and Rachel regarding the creation of this cue.
Josh’s Full Score (Evidence 9.3)
Complete performance score detailing arrangement, orchestration, and structural shaping for the cue.
Evidence 9.3 - Josh’s full score of cue
10.Cupid for Roxanne (BIT MORE NEEDED)
Press Night Timestamp: 0:55:20
Claim: Co-composed by Alex and Josh
Rationale:
The harmonic basis of this cue derives from material associated with Alex's demo "Soul." However, no specific theatrical cue, arrangement, or instrumentation for this moment was delivered by Alex. The demo score does not reflect the structure or orchestration of the cue as performed in rehearsal or on Press Night.
In response to a direct request from the director (in person and email), and in the absence of a dedicated cue for this moment, the Press Night version was developed in rehearsal by Josh, Oli, and Rachel. This development occurred in Alex's absence and established the context, structure, instrumental writing, and dramatic shaping heard in the Press Night performance.
An email from Alex to the band thanks Josh for creating the cue, acknowledging its rehearsal-based development. The final performed version therefore reflects collaborative rehearsal development.
Evidence:
Alex Demo - "Soul" Source harmonic material (Evidence 10.1 - link here)
Uploaded to Dropbox on 3rd September. Does not constitute a specific cue or arrangement for this dramatic moment.
Video - Cyrano Full Run (Part 1), 18-09 - 50:44 (Evidence 10.2)
Cue as performed, consistent with Press Night version.
Email - Simon to Alex and Josh (Evidence 10.3)
Directorial request for a new cue before Roxane leaves in Act 2 ("Thank you. I should go...").
Email - Alex to the Band (Evidence 10.4)
Message thanking Josh for creating the cue
-
More cues
Simon Evans<simonevans25@icloud.com>
Alex (Sascha/Aldous) Baranowski
You; Lydia McKinley;
Lorna Earl
Hello guys,
Forgive the brevity of this, just running into rehearsals. The summary is that the music is so good I think we need a few more. Here are some notes and new cue points.
S
x
—
Shorter entrance music with Montfleury
New Cue: Something when Roxane offers the first “U” in the fight, which then sits under the fight.
New Cue: Start as soon as Valvert is killed and keep going under Roxane and Cyrano’s first conversation.
New Cue: Under Cyrano’s speech about walking in the park with Roxane (“Sometimes- I could. Warm evenings. Soft. I don’t know. But..”)
New Cue: Before Roxane leaves in Act 2 (from “Thank you. I should go. You never told me your story. Your fight. With the giants.”)
New Cue: In Cyrano/Christian scene after
CYRANO
I’d let you borrow it,
And if I had your looks-
CHRISTIAN
I’d give you them, sir.
CYRANO
And I’d take them.
(Ping. Light bulb.)
Can you start playing after “Who the hell are they?” Rather than over the line. Shall give Adrian than note too in terms of him cueing you.
Can the music stop abruptly when Cyrano says “God no” from under the balcony.
Can the cue under his “I see you” start simpler, smaller. One instrument perhaps. Then other grow as he grows in confidence.
New Cue: Under the entrance of the nuns.
New Cue: When De Guiche decides to stay (and under the offer of the food).
Can the music continue longer under the transition into Act 5.
-
Cyrano Music
Alex Baranowski<alexbaranowski@gmail.com>
You
kev.Waterman@rsc.org.uk; nick.Lee@rsc.org.uk; jin.theriault@googlemail.com;
Hi all,
Just wanted to say a HUUUUGE thanks for today. We're in such an exciting and beautiful place. All thanks to your incredible work. Thanks especially to Josh who added offerings for all the cues Simon suggested on Tuesday which is above and beyond what I thought possible on our schedule!
I'm going to organise tomorrow's rehearsal to tackle some more specific cues / timings which I'm working on now alongside the video from today's run. I'll give you all a list in the AM and there'll be a few new scores too if that's ok. I should also be able to give you guys an idea of what we might develop over the coming days too so you can have a heads up with any amendments earlier than later. As it's our last call before soundcheck I might be a little more specific than usual tomorrow but nothing is by all means set and as always would love to hear your wonderful thoughts.
If anyone has anything they want to look at tomorrow do let me know!! Very aware we didn't get to the second half today so that's a big priority.
Thanks everyone and see you tomorrow,
Alex
Evidence 10.3 and 10.4 - Correspondance detailing Simon requesting this music, and Alex thanking Josh for creating it.
11.Smoke and Powder & 14. Smoke and Powder Reprise
Press Night Timestamp: 0:57:07 and 1:12:33
Claim: Song by Josh, Caolan. Lyrics by Simon and Debris
Evidence 11.1 - Josh raising various points, including that a lot of his music is currently in the show
-
(0:20) “…We did a run of Act 1 today, and it was really, really exciting. I’m looking forward to you seeing it and hearing your thoughts…
(0:43) In terms of next week, I know we’re basically going to be going through the whole play, so it would be really good to have you in the room — well, all the time — because that’s the nature of the beast from now on.
(1:00) So whatever availability you can do with that, let me know, because, yea, that would be the dream from our side of things. And yes, let me know how you can square that circle. I’m aware you’ve got lots of other bits and bobs going on, but again, just with my hat of musical-director-in-this-show on, that’s what we would request.
(1:25) There’s quite a lot of bits and bobs next week that would be good to have some stuff for, cues wise, that we can try things out. Again, it’s something I can kind of do, and that’s okay, but it’ll kind of start, at some point, to become a bit of a composing gig,
(1:45) because I think as we move forward, the further we go, the more things are getting set as they are. There can be room for play and change, but I think stuff is starting to take a solid shape.
(2:06) So maybe there’s — for example — especially in Act 2 and Act 3 — lots of stuff to do with the balcony, Caolan’s song, there’s just a few chunks which aren’t there at the moment…
(2:24) Also interval stuff, also De Guiche moments… what else… yea, that’s kind of the main thing. Also moving from Act 4 into Act 5.
(2:37) So quite a list of stuff. So I’m happy to help out however, but yea, it would be great to have you around and have music to try out with Oli and Rachel and we can go from there.
(2:50) I think you’ve got all the videos and everything you need, so just let me know how you want to go forward.
Alternatively, if you don’t quite have the headspace and the time, I can put some stuff together — especially like Caolan’s song — that would be a pretty simple enough task for me.
(3:09) But I don’t want to tread on your toes and, yeah, I don’t want to compose something and then have that get fixed when you’re not happy with it, or to compose something and then not have a composing credit, basically.
(3:24) So all of that to navigate — let me know how you want to do it. All very easy breezy — we can kind of figure it out. I just want you to have a nice time with it. So yeah, man, let me know what you think on all of that and we can go from there…”
Evidence 11.2a, 11.2b, 11.2c - Proof of delivery and following conversionation
Rationale:
This song was created to enable an imminent scheduled rehearsal run to take place prior to the company’s move to Stratford-upon-Avon. In the lead-up to this run, repeated requests had been made for music for this section.
On 6th September, following a run of Act 1, Josh articulated the curently missing cues, including Smoke and Powder, to Alex in a voice message. He highlighted his wish for Alex to be in the room creating more music and his concern that a lot of music is currently composed by himself for this stage of rehearsals. Alex replied “I don’t want you thinking you’ve basically got to come up with the show and be uncredited because that’s certainly not going to be the way!”
Josh then wrote and circulated a version of this cue to Alex and Simon in order for the upcoming run to function. Later that day (16:11), Alex replied stating that he had “a version of this written too,” though no music was attached to that email.
On 7th September, Caolan sent a rough recording to Simon, explaining that he had been “playing around with some melody ideas (in place of a tune being written).” Simon forwarded this to Alex and Josh. At 22:04 that evening, Alex sent a demo to Caolan and Josh, describing it as a re-working and noting that it was a late-night recording. He stated he was “by no means attached to the melody or even tweaking chords etc – really happy for us to discover it together.”
In the same correspondence, Alex described his recording as a “crap demo” and later referred to his demo as “shitty,” noting that it was “very much a choice not to include Simon” in that circulation. The recording was described as a late-night demo made quietly at home. No earlier version was provided prior to this late-night demo.
The demo was not adopted in rehearsal. On 8th September, Josh and Caolan developed a new version of the song together in the rehearsal room. Voice memo evidence documents the song mid-creation, with Alex not present. The version performed in rehearsal on 9th September — and subsequently at Press Night — reflects this in-room development process.
The reprise (cue 14) uses the same musical material and was developed in parallel with this process.
Evidence:
WhatsApp Audio Message and transcription from Josh to Alex (6th September)(Evidence 11.1)
See highlighted moments and corresponding timestaps
Proof of delivery and correspondance (Evidence 11.2a, 11.2b, 11.2c)
See highlighted moments and corresponding timestaps
Email – Josh to Alex and Simon (6th September) (Evidence 11.3)
Circulation of Josh’s initial version in advance of scheduled rehearsal run.
Email – Caolan to Simon (7th September) (Evidence 11.4)
Caolan’s version sent “in place of a tune being written.”
Email – Alex to Caolan and Josh (7th September, 22:04) (Evidence 11.5)
Alex’s version.
Music - Josh’s version of Smoke And Powder, attached to the email (Evidence 11.6)
Music - Caolan’s version of Smoke And Powder, attached to the email (Evidence 11.7)
Music - Alex'’s version of Smoke And Powder, attached to the email (Evidence 11.8)
Voice Memo – Rehearsal Creation (8th September) (Evidence 11.9)
Audio capturing Press Night version of the song, mid-creation. Alex not present.
Rehearsal Script (Evidence 11.10)
Documents call-and-response structure between lead vocal and ensemble, as taught by Josh to the cast.
Video – Cyrano Act 2 Run (09-09) (Evidence 11.11a, 11.11b)
20:54 – Song as performed on Press Night.
29:59 – Reprise as performed on Press Night.
Rehearsal Context (Evidence 11.12)
Alex not present during creation and initial teaching of the performed version. Caolan can testify to these events, if clarification is helpful.
12. On Stage Guitar U/S
Press Night Timestamp: 1:03:53
Claim: Composed by Josh, Caolan
Evidence:
Lack of - there is no music from Alex.
(NOT STRONG ENOUGH)
Alex was not present in rehearsals when this was created
- Transcription of Whatsapp Audio message from Josh to Alex, at 2 mins 56 seconds, 6th September. (Evidence 11.1)
Evidence 13.3 - Josh’s score, as performed on Press Night
- Email from Alex to Josh, September 10th. (Evidence 8.6)
Act Three
↓
Act Three ↓
15. A2 - A3 (christians first letter - Bunnies at Sunrise)
Press Night Timestamp: 1:12:52
Claim: Composed by Josh, Oli, Rachel
Rationale:
The thematic material for this cue was first shared by Josh via WhatsApp audio message on 26th August, prior to receipt of any musical material from Alex. This audio recording is materially identical in melody, harmony, structure, and arrangement to the version performed on Press Night.
Comparison of:
The 26 August WhatsApp audio (Evidence 15.1)
Rehearsal video from 11 September, and
The Press Night recording
Confirms that the cue was already in its performed form from early rehearsals and remained structurally unchanged throughout the process.
No notation, demo, or originating compositional material has been provided by Alex. In a WhatsApp message dated 23rd September, Alex explicitly acknowledges that the “shape/arrangement” was created by Josh, Oli, and Rachel, and proposes alternative chords. Following an in-person discussion between Alex and Josh, Alex decided not to implement said change, as evidenced by the Press Night recording, which reflects the originally shared material.
Alex was not present in rehearsals when this material was created.
Evidence:
WhatsApp Audio between Josh and Alex (26 August) (Evidence 15.1)
Original idea recording sent to Alex before receiving any music from him. This is the first sharing of musical material on this project.
Proof of delivery of WhatsApp Audio message (Evidence 15.2 and 15.3)
Video: Act 3 Run – 11 September, 00:50 (Evidence 15.4)
Cue is structurally and musically identical to Press Night.
WhatsApp from Alex to Josh (23 September) (Evidence 15.5)
“Still using the same shape/arrangement you guys came up with.” Acknowledgement of authorship of structure and arrangement by Josh, Oli, and Rachel. Proposed harmonic changes were not adopted at Alex’s later suggestion.
Motivic Continuity (Evidence 13.3, BALCONY EVIDENCE)
The “Bunnies at Sunrise” motif appears throughout the production (A Bright Idea, A2–A3, Balcony, Balcony cont.), demonstrating Josh’s thematic authorship continuity throughout this process
Instrumentation Evidence (Evidence 15.6)
Cue scored for guitar, 2 mandolins, and cello. No scores containing mandolin or guitar were delivered by Alex for this production, meaning 3/4 of instruments in this cue cannot have been scored.
Absence of Material from Alex (Evidence 15.7)
In fact, no notation or demo is provided for this cue.
Josh’s Score (Evidence 15.8)
Full written score of final performed version.
Rehearsal Context (Evidence 15.9)
Alex not present during creation of the performed version
-
Re: Cyrano Notes 27/09/25
Josh Sneesby
Nick Lee;
Oliver Grant
Thanks Alex,
Alex and I just got an email from Simon with an additional request that I think you two will like:
Bright Idea Mandolin Duet (page 45) - the cut point "I think she just wants a letter" - please do a comedy crumble.
For this cue, please can we try this structure:
"and I'd take them"
PHRASE 1: Oli begins his fingerpicking round AND Nick does a little upstrummed chord using the voicing he has for his 1st phrase. All at tempo on beat 1 of bar 1, and we lose the preceeding isolated strum.
PHRASE 2: Nick does his fingerpicking round and Oli does a little harmonic or something slight and complimentary on beat 1.
PHRASE 3 onwards: You guys play your lovely interwoven part, looping the first two chords you normally play here (but not moving onto the 3rd chord - unfortunately it never really gets the time to establish)
"Just wants a letter"
hard rall, moving the chord shape down the neckboard for a bit, throw in a TWANG if you're feeling generous. Comedy Crumble, recipe #3. Bake for 25 minutes.
I love the sound of the two mandos so much Alex... I wonder if we can maybe add Nick's to the balcony sequence, when Oli, Rachel and I are on the bench and there's the lines" Climb, Suffer, Flounder, Wonder" - Simon wanted us to grow on those words so it could be a nice addition, and then Nick stays in till we all scarper from the stage? Not something for today, but to add when we can come up for a bit of air. What do you think?
Thanks guys,
Josh x
From: Alex Baranowski <alexbaranowski@gmail.com>
Sent: 27 September 2025 08:35
To: Josh Sneesby <joshsneesby@hotmail.com>
Cc: Jim Stretton <james53stretton@gmail.com>; Jin Theriault <jin.theriault@googlemail.com>; Kev Waterman <kev.Waterman@rsc.org.uk>; Nick Lee <nick.Lee@rsc.org.uk>; rachelfrancesdawson@gmail.com <rachelfrancesdawson@gmail.com>; Oliver Grant <oliver.grant1990@gmail.com>; Bruce O'Neil <bruce.oneil@rsc.org.uk>
Subject: Cyrano Notes 27/09/25
Hi everyone
Just want to reiterate what I said yesterday which is a huge THANK YOU for all your incredible collective work. It's just so brilliant where we're at with still a dress to go before preview which is a total testament to you all, and a huge part to Josh, Rachel and Ollie being in the rehearsal room from the start and figuring out how so much of this will work. You all rock.
Honestly the comments about the music have been so wonderful, I've rarely worked on a show where the music feels so wonderfully integral to the whole piece. It's so special.
Attaching some notes from yesterday - some from me, some from Simon. None of them are changes / new parts (other than a clarification what we should do before the interval blackout) - so mainly more tweaks to end points to mark on scores and some suggestions for Kev etc. Let me know if any questions arise at all - I'll be in nice and early and will come and find you all before the dress anyway.
Will also make sure you're ok with your iPad Ollie / Rachel - shout if there's anything me or Bruce can help with in that regard?
Thanks so much as ever, see you soon
Alex
On Thu, 25 Sept 2025 at 12:15, Josh Sneesby <joshsneesby@hotmail.com> wrote:
Hi everyone,
For today’s 1pm, we’re going to be out of costume! I’ll ask you all, just out of courtesy, to wear dark coloured regular clothes if you can.
So, at 1pm, instead of heading to dressing rooms etc, please let’s be ready to play in the Juliets (and band gallery for Kev).
I’d like us to look at:
- p.67 Out of the interval (new music hard copies will be provided by Alex)
- p.66 Planting The Seed (into the interval)
And just to clarify, it also means at the end of the session, we’ll get 15 minutes from 4:45 till 5pm, so stick around!
See you in a bit!
Josh x
18. White Flag & 19. The Kiss
Press Night Timestamp: 1:30:25 and 1:33:40
Alex Delivered Music on ???
Claim: Composed by Alex (fanfares in The Kiss were created by Josh)
Evidence:
Email chain with Simon. Pertinent points:
“I’ve composed new cues, so all those moments will all be there!” - Josh to Simon
“I’ll prep the band… the motivation to drop from fanfare volume to beautiful/tasteful underscore volume is marked” - Josh to Simon (in response to how best to musially begin the music for The Kiss cue)
-
Re: Notes
Josh Sneesby
Simon Evans
Good morning my friend,
Yeah – we covered loads yesterday! Well done mate, you were moving at a great pace.
1. I’ve composed new cues, so all those moments will all be there! I’m not sure what the DeGuiche “you think I’d eat your scraps”moment needs, so if you have a general sense and a spare 30 seconds to let me know, we can try something.
2. Great - we’ll follow Adrien
3. Yep! We can start/stop as quick as needed (the quicker the funnier!) so I’ll prep the band to be super responsive to Levi’s and Adrien’s conducting. Maybe we can clarify Adrien’s final conducting moment (where he tell us to continue playing, but more gently)? So the the motivation to drop from fanfare volume to beautiful/tasteful underscore volume is marked?
Chat in a bit xx
Josh Sneesby
07969855517
> On 18 Sep 2025, at 8:16 am, Simon Evans <simonevans25@icloud.com> wrote:
>
> Morning all,
>
> Well done and thank you on all the hard work yesterday. A big day, but so many steps forward with Act 4 and (as ever) what you’re bringing just lifts the whole thing. A couple of questions/thoughts below. Don’t know how much time I’ll have this morning, so wanted to share in advance.
>
> S
> x
> 1. Be good to touch base today and see which of the new cues (even just first offers) we might be able to hear in the run today. Maybe you and I can find five mins, Josh?
> 2. Have asked Adrian to cue you to play a beat later when you emerge to help Christian (in Act 3). So he whistles. You emerge. Christian says “Who the hell are they?” Then Roxane emerges and Adrian cues you to start playing.
> 3. I’d love to get things quicker when Adrian and Levi are starting and stopping you. Don’t know if that means a shorter cue and just a single sound (an accordion blast or similar) but can we have a think?
Evidence 15.1 - Rehearsal recording, prior to receiving any music from Alex, as performed on Press Night
Evidence 15.2 - Proof of Delivery
Evidence 15.5 - WhatsApp acknowledgement of authorship by Alex
Evidence 15.8 - Josh’s Full Score
Evidence 15.3 - Proof of Delivery
16. Balcony & 17. Balcony cont.
Press Night Timestamp: 1:26:26 and 1:28:12
Claim: Composed by Josh, Oli, Rachel, (with some chords from Alex)
Evidence:
Video: Cyrano Act 3 Run 11-09 (new) (link to videos here)
16:35 and 18:37 - Same sound as cue 15, using Bunnies At Sunrise.
Whatsapp message from Alex to Josh (23rd September)
“What you guys have on the bench though is lovely and I’m not sure I want to touch it.” - clear evidence to the knowlage that musical authorship lies with Josh, Oli, and Rachel.
Alex was not present in rehearsals when this was created
Two Balcony cue sheets, created by me. Outlining the music and cue points for the scene.
Email chain. Pertinent points are:
“… We can maybe add Nick's to the balcony sequence, when Oli, Rachel and I are on the bench and there's the lines" Climb, Suffer, Flounder, Wonder" - Simon wanted us to grow on those words so it could be a nice addition, and then Nick stays in till we all scarper from the stage?” - Josh to Alex, adding in music parts.
“It’s just so brilliant… which is a total testament to you all, and a huge part to Josh, Rachel and Ollie being in the rehearsal room from the start and figuring out how so much of this will work.”
20. A3 - A4 (interval)
Press Night Timestamp: 1:36:20
Alex Delivered Music on ???
Claim: Co-composed by Alex and Josh
Evidence:
Video: Cyrano Act 3 Run 11-09 (new) (11th September) (link to videos here)
Drum/percussive part, groove, structure, dynamic growth, and feel are clearly established.
Audio: Rehearsal recording - as above. Again, this was needed for rehearsals
Alex was not present in rehearsals when this was created
Act Four
↓
Act Four ↓
21. The Boy/The War
Press Night Timestamp: 1:59:40
Alex Delivered Music on 25th September
Claim: Composed by Alex
23. Nuns
Press Night Timestamp: 2:07:40
Alex Delivered Music on ???
Claim: Co-composed by Alex and Josh
Evidence:
See scores. The guitar part is the lead instrument in this cue and it is not in Alex’s score. This was created by Nick and Josh. Please compare Alex’s and Josh’s final versions of the cue.
24B. The Battle / Death
Press Night Timestamp: 2:22:44
Alex Delivered Music on 24th September?
Claim: Co-composed by Alex and Josh
Evidence:
Recording “Working out War BEAUTIFUL” (17th September)
6:02 - Simon giving us direction, requesting musical material
6:16 - Josh says “I’ve got an idea” and introduces the music that we hear in bars 1-6 in Eb major
6:47 - Idea is clearly established and played by Josh, Oli, Rachel.
Alex was not present in rehearsals when this was created
Score: Alex’s score, bars 10 - 15 using this motif.
NOTE: This theme runs throughout the music:
In The Opening / 1.1 Bulrushes
The Battle / Death
Cyrano Sees The Boy (for the whole cue, excluding bars 9-12, 17-20, 31-34)
The End
Recording: Additional Runthrough of Act 4
The concept of this section (long, legato, gentle, breathing phrases) is created by Josh.
Whatsapp message: Alex requested Josh’s music for this section on 22nd September. This was a conversation that happened in person. Alex then created his own on 24th September, which follows the same structure, musical feel, style, and chord progressions as the above recordings, and the videos Cyrano Act 4 Run 11-09 (11th September) (30:01) and Cyrano Full Run (Part 2) (24:47)
Email and screenshot (24th September): From Alex to Josh - upon request for chords, Alex sends Josh the following screenshot and explanation (far right), which Alex describles as “not quite correct, more a mash of notes”.
22. Waking At War / The Band In The Trenches
Press Night Timestamp: 2:03:03
Alex Delivered Music on NEVER
Claim: Composed by Josh (some chords from Alex)
Evidence:
Video: Cyrano Act 4 Sc 2 into 3 02-09 (2nd September) (link to videos here)
00:48 - Initial idea with similar structure, musicality, tone, phrasing, dynamics, mood.
Video: Cyrano Full Run (part 2) 18-09 (18th September) (link to videos here)
03:02 - Very close to the press night version, based on Golden Hour (cue 6)
Josh’s score ←
Alex’s cue (no guitar, accordion, allophone)
Josh’s cue (full band)
24A. Confession
Press Night Timestamp: 2:22:29
Alex Delivered Music on ???
Claim: Co-composed by Alex and Josh
Evidence:
Video: Cyrano Act 1 Run 06-09 (new) 6th September (link to videos here)
0:04 - An itteration of this exact cue, composed by Josh, located in a different point in the show.
The above music, notated by Josh and sent to Alex, Oli and Rachel on 7th September (middle screenshot), XXX DAYS before Alex delivered his version of the score.
Video: Cyrano Full Run (part 2) 18-09 (18th September) (link to videos here)
23:01 - The version as in the press night video, as per Josh’s score from 7th September (middle screenshot)
Scores. Alex wrote an alternate begining to this cue (far left picture, bars 1-5) which was cut during tech, at Simon’s request, and replaced with Josh’s original version (see Josh’s note at top of Alex’s score and instruction underneath to go “to bar 10”), which is the version in the press night video.
-
Re: 4.11 Battle (v2.1)
Alex Baranowski<alexbaranowski@gmail.com>
You
Here's updated!
I've also attached a screenshot of what Pro Tools thinks the chords are from bar 56 onwards as they're not quite correct, more of a mash of notes so have a look at the score for what to play there..
Alex Baranowski
+00 44 (0) 7527 051971
On Wed, 24 Sept 2025 at 12:06, Alex Baranowski <alexbaranowski@gmail.com> wrote:
Here's the demo of the transition at the end! Bad MIDI because it's locked to grid for Sibelius rather than sounding pretty x
Alex Baranowski
+00 44 (0) 7527 051971
On Wed, 24 Sept 2025 at 12:02, Josh Sneesby <joshsneesby@hotmail.com> wrote:
Great. Thanks man. Chords will be useful for me.
x
Josh Sneesby
07969855517
On 24 Sep 2025, at 11:59 am, Alex Baranowski <alexbaranowski@gmail.com> wrote:
Here's what I've got for this - I'm going to make score parts for both strings and woods so they're not working from full score
I can send you the chords too if that's useful but here it is in its present state.. I'll send an updated when I have it but just so you have an idea
The only part that on stage musicians have to do from memory is bars 1-5
Thanks!
25. A4 - A5 (War into Ragenau)
Press Night Timestamp: 2:28:10
Alex Delivered Music on ???
Claim: Composed by Alex
Act Five
↓
Act Five ↓
26. Rageneu’s Monologue / Lost In The Forest
Press Night Timestamp: 2:29:30
Alex Delivered Music on NEVER
Claim: Composed by Josh
Evidence:
Lack of - no accordion parts were written for this show by Alex
Video: Cyrano Full Run (part 2) 18-09 (18th September) (link to videos here)
28m 58s - very similar to the press night video
Score (created by Josh). This cue was finalised during tech, at Christian Patterson (playing Ragueneau) Simon’s request.
28. Cyrano Sees The Boy
Press Night Timestamp: 2:47:55
Alex Delivered Music on ???
Claim: Co-composed by Alex and Josh
Evidence:
Video: Cyrano Act 1 Run 06-09 (new) 6th September (link to videos here)
0:50 - cue played as an underscore.
Recording "Working out War BEAUTIFUL" (17th September)
6:02 - Simon giving us direction, requesting musical material
6:16 - Josh says "I've got an idea" and introduces the music that we hear in bars
1-6 in Eb major
6:47 - Idea is clearly established and played by Josh, Oli, Rachel.
This chord sequence is played for the majority of the cue - see highlighted notes from Alex’s score.
Alex was not present in rehearsals when this was created
27. Tension
Press Night Timestamp: 2:42:04
Alex Delivered Music on NEVER
Claim: Composed by Josh, Oli, Rachel, Kev
Evidence:
Video: Cyrano Act 5 Run 12-09 (new) (12th September) (link to videos here)
12:40 - cue as in press night video, with the same cue point.
Kev’s script (left), including moment of stopping cue (“stop on letter fall”)
Voice memo from Josh to Simon
1:55 - Proposal of letter fall - “we cut the strings out as the letter itself hits the floor” - the end of the cue.
29. A Mind That Dances
Press Night Timestamp: 2:50:08
Alex Delivered Music on ???
Claim: Composed by Josh
Evidence:
Whatsapp and audio message to Alex (26th August)
Original idea - almost identical to what is in the final show, sent before receiving any music from Alex - to be clear - this is the first sharing of any music on this project. (audio and proof of delivery opposite)
Video: Cyrano Act 5 Run 12-09 (new) (12th September) (link to videos here)
22:35 - the cue as performed on press night video
Video: Cyrano Act 2 run 29-08 (29th August) (link to videos here)
06:48 - the cue as it is in the press night video (for iteration earlier in the show)
Rehearsal prompt created by Josh with the chords (G-F-F-F) (created late August, photographed 9th September)
Additional rehearsal prompt created by Josh with the chords (G-F-F-F) (created early August, photographed 9th September)
Alex’s Email (8th September) - Full email and relevant quote below.
Alex’s Email (20th September) - Full email and relevant quote below.
Alex was not present in rehearsals when this was created
”… I love the beginnings of those chords
and that repeating F chord...”
-
Re: Cyrano introductions 🎶
Alex Baranowski<alexbaranowski@gmail.com>
You
Ha! Well that's all good, never mind. Worth an ask !
By the way - was about to write to say how bloody beautiful that section is for the Cyrano underscore letter that you put together - I love the beginnings of those chords and that repeating F chord.. soul stirring! And feels so wonderful for the scene. Reminded me of my favourite calm band A Winged Victory for the Sullen..
I think that's another one we might be able to work together with this week - I'll do a bit of scoring this end and playing with melodies and you can let me know what you think..
Alex Baranowski
+00 44 (0) 7527 051971
On Mon, 8 Sept 2025 at 21:29, Josh Sneesby <joshsneesby@hotmail.com> wrote:
FYI
Josh Sneesby
07969855517
Begin forwarded message:
From: Kev Waterman <Kev.Waterman@rsc.org.uk>
Date: 8 September 2025 at 9:12:38 pm BST
To: Josh Sneesby <joshsneesby@hotmail.com>
Subject: Re: Cyrano introductions 🎶
Thanks very much for all the info Josh.
Just to mention that I’m not a keyboard player and I’ve never played celeste before but I’m happy to give it a go.
Looking forward to seeing you tomorrow, Kev Waterman
-
Sound check / Act 5 Scene 6 Hi all,
Thanks for the brilliant work yesterday and really looking forward to this afternoon.
Just to give you a heads up on new material for today -
I've been working on a structure for the Act 5 final scene, and there will be some new/amended scores.
This is the only new section we'll look at today, everything else we'll go over what we have already. And all very much in the spirit of the final piece we already worked on yesterday.
I've attached scores if you want to take a quick look and will print them out before sound check. @Bruce - I'm guessing the best place for this is still the tennis club rather than anywhere in the theatre?
It's a big 7 or 8 minute chunk, but I think it'll be rather beautiful... I've chosen to break them up into sections and score to give us greater flexibility for amendments in the tech / preview period.
5.6_A Cyrano Sees The Boy p109 (v1.1)
As the boy enters on p109
Pause on ROXANE "Time to love you"
5.6_B A Mind That Dances p110 (v2.1)
Return after pause. These are the G/F/F/F breaths we've been doing in that section already
Pause on the GIANT'S sound cue, ROXANE "I've only ever loved one man in my life, now I lose him twice?"
5.6_C The Giant p110 (v1.1)
Starts after the Giant sounds. Led by Aluphone, with violin and cello. Everyone else tacet.
Start to fade on ROXANE "hush please please shhhh" and out on CYRANO "keep me"
5.6_D The End p111 (v3.1)
As we rehearsed yesterday. Slight amendment to title (Part D), added chords as requested
@ Josh would you mind updating your spreadsheet to reflect these changes? Hang on printing another one until the start of tech though... we need to update the balcony A, B, C etc sequences too
Thanks all, see you soon,
Alex
31. The Giant
Press Night Timestamp: 2:51:15
Alex Delivered Music on ???
Claim: Composed by Alex
32. The End
Press Night Timestamp: 2:53:34
Alex Delivered Music on ???
Claim: Co-composed by Alex and Josh
Evidence:
As cues The End and Bulrushes mirror eachother musically, all the evidence for Bulrushes is applicable here.
Alex’s Email - on delivery of his version 1.1 of Bulrushes cue (since deleted from Dropbox). Full email here ←
Video: Cyrano Act 1 Run 06-09 (new) (6th September) (link to videos here)
0:00:50 - Opening chord squence (bars 1-6) in A major
Alex’s score, with the above chord sequence highlighted.
Recording “Working out War BEAUTIFUL” (17th September) (BETTER FOR ENDING ARGUEMENT)
6:02 - Simon giving us direction, requesting musical material
6:16 - Josh says “I’ve got an idea” and introduces the music that we hear in bars 1-6 in Eb major
6:47 - Idea is clearly established and played by Josh, Oli, Rachel.
Alex was not present in rehearsals when this was recorded
- Email from Alex to Josh, September 10th.
“A Mind That Dances… These are the G/F/F/F breaths
we've been doing in that section already”
- Email from Alex to full band and Bruce, 20th September.
“… for the opening -
very much wanting
to keep the DNA
of what you guys created…”
-
Hi Josh
Here's what I've been working on for the opening - very much wanting to keep the DNA of what you guys created. I've stripped back the melody to something a little simpler and made the chords breathe a little... potentially this is something that could mirror the end of Act 5 too...
I love [your] idea of just repeating the "Your Words" two note melody on the violin so that's what I've done here. Less is more etc etc
Ollie's solo feels like we're seeing Cyrano as a boy so I'm thinking that's something that will evolve over these coming days..
I wrote the chord shapes before adding the melody, so we've lost one of our four core notes with Ollie on the solo - for this first pass would you mind taking the Violin part written (not solo) for your right hand on the accordion, just for this first iteration, so we can see where we are in the chord shapes? And then doing something similar to your v1 in the left hand with that beautiful breathing accordion moving along with the chord shapes? I'd love to hear your take on it anyway, this is just the beginning... have a look at the score and tell me what you think. We might be ok with losing the Vln 1 notes all together between the VC, Bass Cl and Euphonium (not forgetting Aluphone & Mando).
Demo and score here -
https://www.dropbox.com/scl/fo/dsqr3u5fpnafdw2c4bqv2/AEJKiiZdOgrGYoLs7cc33Rk?rlkey=jl34b4z8pp1dwc2zgcc8v12j9&dl=0
Thanks!
A x
Testimonies
Rachel Dawson
Actor Musician (Cellist) in the castWith a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
Actor Musician (Violin/Mandolin) in the castOli Grant
Focused, approachable, and driven by results, our sales manager is all about building strong relationships. They help connect people to the right solutions—with clarity and care.
James McAllister
Stage Manager for CyranoWith a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
Nick Lee
In House RSC Musician (Strummed Instruments) in the band
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.
Jin Theriault
In House RSC Musician (Woodwind Instruments) in the band
With a vision for building something meaningful, our founder brings a blend of big-picture thinking and hands-on experience. They set the tone for everything we do.