On 02.06.2003 19:15 Uhr, Andrew Stiller wrote > The transposing notation recommended by another respondent was indeed > standard during the glory days of scordatura in the 17th c., but > later (rarer) uses tend to show the sounding pitch and assume the > player will adjust the fingers appropriately (example: Haydn, Sym. > #60). It is not, after all such a hard discipline (think of > harmonics, e.g., and stopped notes on the horn)--so that's what I'd > recommend.
Haydn's No 60 is not really a good example. There isn't a long passage of scordatura, it is merely an effect. I doubt that you will make a violin section happy with a longer passage played on a detuned violin, where all notes below d' have to be effectively transposed. The first thing I would do when given such a passage is to rewrite it in Scordatura notation. How do Saint-Sains and Mahler notate this stuff? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
