On 10/12/2012 3:07 PM, Robert Patterson wrote: > On Fri, Oct 12, 2012 at 1:39 PM, John Howell <john.how...@vt.edu> wrote: > >> since the >> same folks who advocate concert pitch scores are >> usually uncomfortable with the use of C clefs >> > > This was a very good post down until this bit of smug nonsense. Is John > prepared to suggest that Prokofiev was uncomfortable with C clefs? > > I think "concert pitch" scores make a lot of sense for contemporary pieces > that lack key signatures, because without the key signature as a cue, it is > difficult to tell the transposition at a glance. This practice has become > quite standard in this style of music, recommended by many composition > professors, and (as just mentioned) has a pedigree dating back at least to > Prokofiev. > > I do think that one has to particularly careful about horn parts in a > concert pitch setting: not the notation, but the way you write for it. But > if you know what you are doing, there is no problem.
I agree that in many situations concert-pitch scores are preferable. But I would never say in any sort of absolute way that there should be only transposing scores or only be concert pitch scores. Each serves a very useful purpose and people just need to learn to deal with them. -- David H. Bailey dhbai...@davidbaileymusicstudio.com _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
