On Aug 16, 2006, at 10:48 PM, Darcy James Argue wrote:
On 16 Aug 2006, at 9:14 PM, Christopher Smith wrote:
Even in a piece without a key signature, if you had a C#7 chord
resolving to F#m, and the melody outlined the C#7 chord, how could
you spell it except with an E#?
Well, let's say the progression is C#7 - F#mi7 and the line is
(descending) C# - B - G# - E#, going to E nat. on the F#-7. In that
case, I *would* probably use F instead of E#. But either way, if it
were a transposed score, I'd definitely make sure it was spelled
the same way in the part as the score.
On the other hand, if this was a Bb trumpet part derived from a
concert pitch score, I might want D#-C#-A#-G-F# on the part, but
it's also possible I might prefer Eb-Db-Bb-G-Gb, or even Eb-Db-Bb-
G-F#. In any event, when using a concert pitch score, the conductor
must always assume that the part might sometimes make use of
enharmonic equivalents to create a more readable linear passage for
the player.
Your last two solutions are far preferable to the first two (for me),
as they both agree with the harmony. Respelling an entire passage is
fine with me (it's easier to adjust an entire passage for tuning, and
easier to read)—it's respelling a note or two that leads to
confusion. The second-to-last solution would have to preserve Gb for
the rest of the duration of the chord, though.
Christopher
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