At 8:45 AM -0500 8/24/09, Robert Patterson wrote:
It would confuse me, even for D horn, and I am probably the most
open-minded in my section when it comes to notation we don't normally
see. For any other key it is hopeless. The horn parts should without
fail be treble clef in the appropriate key.
Parts in F are entirely optional but OK. If you do include them,
combine the optional F part with the mandatory "original notation"
part in one part booklet for each player.
Yes, that's exactly how the Luck's "transposed parts" are printed.
Another case in which this is important: Clarinet parts.
Professional players will own a minimum of Bb and A clarinets, but
some Youth Orchestras will not have A clarinets available, so a
transposed part for Bb clarinet is advisable even though it may put
the part in nasty keys.
In many styles there is uncertainty whether "Horn in Bb" is Bb-alto or
Bb-basso, so be sure to specify.
Robert is exactly right in all things, of course. One additional
caveat. For the middle movement you should again inventory the notes
actually written to see which horn's harmonic series they fit into.
I'm sure you already know this, but a key signature of 2 flats
doesn't necessarily mean the key of Bb. In the 18th century it could
also mean G minor (new style), or even C minor (old style). But the
notes will tell you which horns are intended. In fact a major 3rd
tonal shift between movements would be possible, but just a bit
unusual for the time. (Again, I would defer to David Fenton in this.)
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts & Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html
"We never play anything the same way once." Shelly Manne's definition
of jazz musicians.
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