But as the key of the work in question is E major and the transposed key is F# which the person wanted to notate as Gb, I would notate it in F#, maintaining the proper relationship to the concert key. 6 flats, 6 sharps, there will be problems either way with amateurs and pros won't have any problem in either key.
David H. Bailey
Ryan Beard wrote:
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
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