John.Howell wrote:
At 6:47 PM -0500 1/6/04, [EMAIL PROTECTED] wrote:
In a message dated 06/01/2004 23:44:39 GMT Standard Time, [EMAIL PROTECTED] writes:
The conductor (who is looking at the score) wants to know what the piece SOUNDS like....so write everyting at sounding pitch. And emphasise this on the cover "SCORE IN C" (I've yet to hear a complaint that this isn't obvious enough)
Personal view - I hate scores in concert pitch - I want my score to match exactly what the players have in front of them, quite apart from wanting to see where in the instrument's register the parts lie.
Lawrence
That's especially important in non-tonal, non-key signature music. If the conductor sees a C# but the player has it notated as an Eb, you're making communication difficult and wasting rehearsal time. Thus the conductor would have to speak in concert pitch, and the player would have to do the transposing.
John
That's EXACTLY the situation that I have fouund (in practice) to be invaluable to both parties....the conductor knows immediatly what sound to expect, without needing to think through all the transpositions involved (he might be trying to match a tenor sax against a scordatura violin etc)....provided (s)he's smart enough to say "concert pitch C#" rather than just "C#", the player should be capable of understanding without any problem.
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