Darcy James Argue wrote: >That is a trivial problem when using a concert pitch score >(or score in C, or whatever you wanna call it). [...]
>The real problem are the horns, which will require either excessive ledger >lines, or numerous clef changes, many of which will not be needed in the >part. The same problem applies to the tenor sax and (to a lesser extent) to >bass clarinet. Only if you assume that we stupid Americans can only read treble and bass clefs. Remember that the moveable C clefs are also "concert pitch." You can't read them? Why not? Become fluent in reading all 9 moveable clefs and they become a wonderful tool for transposing. And they're all "concert pitch." >The other thing is, regardless of whether the end product will be a >transposed score or a concert pitch score, I always compose and arrange with >"display in concert pitch" turned on. I can't really imagine doing it >otherwise -- it would drive me nuts if the pitches I heard when I play in >the music in Speedy Entry were not the pitches I wanted the instruments to >play. Clearly a matter of personal taste, and nobody is going to persuade anyone else to switch over. In my case, it would drive me nuts if the pitches I read off the page were not notated as they will be seen by the player, because when I was younger I made a point of learning to play all the instruments at least well enough to understand (a) what the actual tone quality of each note is throughout the range and (b) what is easy on each instrument and what is difficult. When I see the transposed part I know exactly how it will balance and blend. A pianist would probably prefer concert pitch. John John & Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
