----- Original Message ----- From: "Darcy James Argue" <[EMAIL PROTECTED]> To: "Fin" <[EMAIL PROTECTED]> Sent: Monday, October 14, 2002 11:42 AM Subject: Re: [Finale] Transposed vs. concert pitch.
> On 2002/10/14 03:42 AM or thereabouts, Michael Edwards <[EMAIL PROTECTED]> > intoned: > > > [Darcy James Argue:] > > > >> Again, this problem is easily avoided by using octave-transposing clefs for > >> octave-transposing instruments. > > > > Are they those treble or bass clefs sometimes found in more recent scores > > which have a little "8" respectively above or below them, to indicate an > > octave transposition? > > Yes. > > > (Do you ever find treble clefs with a "15" above them?) > > I recently made a custom 15ma treble clef specifically for glockenspiel. > (It required negotiation of the nasty "nonstandard key signature" dialog to > get the accidentals in the key signature to display correctly.) > As a piano player in contemporary "classical" music I am often confronted with "15va treble clefs". I often see (and I would even say that this use has become a conventional notation) the piano part notated with four staves, using the following clefs (top to bottom): "15va treble", treble, bass, "15va bass". This system provides the total range of the piano without additional octava-signs and nearly without ledger lines. There is only one ledger line between each pair of staves as one is used to with the c' in traditional piano notation. It takes a little time to get used to it, but it proves to be very effective because you have a very consequent representation of "high" and "low" over the whole range of the keyboard. Regards Urs Liska _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
