>It seems to me that it's better for everyone to be on the same page. >The conductor needs to hear concert pitches in her head from the >transposed parts in order to know whether what is heard is what's on >the page. But I think the ear does that a lot more efficiently than >the "mouth."
I think this is an important point. Having a score look different than the parts, obscures the problems that may be encountered during rehearsals.
>And different musical styles require different notational >conventions. Music that is not in a key itself, it seems to me, is >best notated in C scores, but, it seems to me, only when the music is >complex enough in pitch to make it otherwise difficult to manage the >conversion in the head from transposed pitches to concert pitches. >Music that is tonal, however, seems to me to not be at the level of >complexity in terms of pitch content to need the ease-of-use of the C >score.
Still, I think a C score creates problems, if the score does not reflect what the performer is seeing.
I can imagine situations where clarinet alternate fingerings could solve a difficult to play passage, but the conductor does not see this at first glance, because the score is in C. (Maybe the majority of band conductors sight transpose at a much greater level than I do.)
>But I'm not a conductor or a composer of music for transposing >instruments, so my opinion sure doesn't mean much at all. That is, >I'm speaking entirely in the abstract, with no pragmatic experience. >Ultimately, what gets the best results is the best, and that might >mean that different conductors will do better with different kinds of >scores.
I like to use a full score, with every part exactly as what the player is seeing, to rehearse.
Later, when the players have learned their parts, I like to use a condensed score (in C) to work out the voicings and musical interpretation. That way, it is easier to see what is needed to make a quality performance.
Phil Daley < AutoDesk >
http://www.conknet.com/~p_daley
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