To David Bailey: > As a totally unasked aside -- the key signatures of > transposed parts (in my opinion as a player of a > transposing instrument AND as a conductor) should be > in relationship to the key of the whole work, and > not in an enharmonic key for ease of playing.
As a totally unasked aside -- If it were up to you, the parts at the end of Strauss's SALOME (concert C# major) would be writen in D# major for Bb clarinet, E major for A clarinet, A# major for Eb clarinet, G# major for the English horn? [I'm not exactly sure which instruments are used since I don't have access to my score at the moment, but SALOME was the only thing in this key I could think of.] G#, D#, and A# major seem preposterous since a major purpose of transposing is to make playing easier! (I know, I know, different tone colors and registers, blah blah blah.) You're really prepared to write a part with 8, 9, or 10 sharps in the key signature? I realize this is an extreme example. Just curious where you draw the line. Don't take this as an attack, please. Ryan __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
