At 06:09 PM 10/13/02 +1000, helgesen wrote: >Do advocates of non-transposed scores enjoy 6 or 7 leger lines in Picc, >Glock, Bass Tuba, or ContraBassoon? are these 'acceptable' exceptions?
All my scores since 1968 are only at concert pitch, except for octave-transposing instruments (which are so marked at the clefs; I even use the transposing-treble for tenor voices). I have always written full scores at concert pitch, and was first taught (35 years ago now) that for new scores in the U.S. (except band scores), concert pitch was recommended because no matter how the parts might be later re-edited for changing players or standards, the score will be good. I was copyist for an ensemble in the late 1960s that required me to write out parts from a 'wet' photocopy of Berlioz's F&T Symphony -- before it was republished, I think, as this miserable copy came from the "publisher" in Paris. Aside from my own nightmare of redoing horn transpositions to every key (pre-valved horns) to F horns, I watched the conductor (who was no slouch) and wind ensemble get into train wreck after train wreck with this score that combined nonstandard transpositions, moveable clefs (not just alto & tenor), obsolete instruments, and instruments in abandoned transpositions. The conductor can transpose off the score when talking to players, but double-transposing (score to A clarinet back to Bb clarinet, if that's the performer's preference) is a guaranteed disaster. That was an incredible object lesson for me as a young composer, so all my scores from then on were written at sounding pitch. Dennis _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
