John Howell wrote:
And don't forget the extra benefit of gaining fluency in all the clefs -- transposition at sight becomes a breeze. IMO, this should still be a part of every musician's training.At 10:20 PM -0800 1/24/05, Chuck Israels wrote:
Of course, if you followed that logic all the way through, you'd write the trombones in the tenor clef a lot of the time, and I don't do that. And I still have to decipher the alto clef for the viola parts (shame on me for not getting used to that by now). If I wrote more string music, I'd probably get to the point where that was as transparent to me as the saxophone transpositions are.
You would, I guarantee it. And not only for writing, but for playing. Early music often comes in a variety of clefs, and it's a little scary to start playing a part on, say, tenor recorder, in alto clef, and by the end of the piece be reading automatically!
John
Does anybody have a handy link to a list of the various transpositions relative to the various clefs? I know there is a horn method by Lorenzo Sansone which lists the transpositions utilizing clefs, but I don't have a copy of that book.
-- David H. Bailey [EMAIL PROTECTED] _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
