Michael Edwards wrote: [snip]
Speaking as a conductor, I like to see in my score just what the player sees in the part. That way there is no confusion, I know exactly what the player is looking at and we can sort out any problem from there. I would hate to have the bass clarinet part in the score be written in bass clef at sounding pitch while the actual part is transposed to Bb and written in treble clef a major 9th up.Well, I have to grant that players of transposing instruments are not used to reading parts at concert pitch - but now that we can use computers to notate music, there would seem to be something to be said for producing scores written at concert pitch, but, when extracting parts that players are to read from, putting the appropriate transpositions and clef changes in. That way, you can simplify score-reading (greatly, not just trivially), and yet satisfy players who wish to read parts that follow the various transpositions, traditional clefs, and the like.
The whole thing really is a muddle, though, because, as you say, looking at a score and figuring out the harmonies and how the parts fit with each other is more difficult with that added level of transposition.
But from a practical point of view, working mostly with amateurs, I prefer the score and the parts to match perfectly. That way, when they don't, it is easy to sort out the discrepancies.
--
David H. Bailey
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