Hi Robert,

That's part of it. I think it also has something to do with the mindset new 
music requires. As Christopher says, he has trouble playing jazz written in 
C-clef. I think it's a similar thing with a lot of NYC new-music specialists — 
that they have no zero playing older music in C clefs, but there is something 
about new music (especially keyless, highly chromatic and/or rhythmically 
complex) music that makes many younger players feel more comfortable when it's 
written predominantly in bass clef, rather than changing clefs every time you 
might otherwise end up with a handful of ledger lines.

Cheers,

- DJA
-----
WEB: http://www.secretsocietymusic.org

On Apr 13, 2014, at 8:43 PM, Robert Patterson <rob...@robertgpatterson.com> 
wrote:

> Too many ill-considered clef changes is indeed a complaint worth paying
> attention to.
> 
> The use of C-clefs is interesting in the case of bassoons and cellos. It
> seems the players are much more comfortable in those clefs if they are
> playing in a high range on their instruments. In common practice music,
> this was the principal use for C clefs on those instruments.
> 
> By contrast classical tenor trombone parts are in tenor clef almost
> entirely throughout the  range of the instrument, and alto trombone parts
> are similarly (effectively) 100% in alto clef. This is why I singled
> trombonists out as being particularly comfortable reading C clefs.
> 
> 
> 
> On Sun, Apr 13, 2014 at 7:35 PM, Darcy James Argue <djar...@icloud.com>wrote:
> 
>> On Apr 13, 2014, at 8:25 PM, Robert Patterson <rob...@robertgpatterson.com>
>> wrote:
>> 
>>> I guess when Beethoven does it, no
>>> one complains.
>> 
>> Right. To be clear, these players are only talking about C clefs in new
>> music. And I actually think most of this is actually a proxy complaint for
>> "too many ill-considered clef changes."
>> 
>> Cheers,
>> 
>> - DJA
>> -----
>> WEB: http://www.secretsocietymusic.org
>> 
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