Hello,
I'm working with a score in concert pitch, where the contrabasses are notated
with the 8vb bass clef in the score, but a regular bass clef (as usual) in the
part. This is all fine and well and easy to set up in the Score Manger (with a
transposition and Set To Clef).
The problem
Hi Darcy,
use a mid-measure clef and then assign
a playback expression to the first note in the new clef
that sets transposition to whatever you need (0, -12, 12).
Repeat the same when switching back to bass clef.
But do you really need to change the transposition ?
In standard contrabass
I see treble clef more often than tenor clef for high notes in bass parts. At
least that has been my experience in recent years.
Sent from my iPhone
On Apr 13, 2014, at 2:46 AM, Jan Angermüller j...@angermueller.com wrote:
Hi Darcy,
use a mid-measure clef and then assign
a playback
Hi Jan,
Playback is not the issue. I need a 8vb treble clef to appear in the score and
a regular treble clef to appear in the part, for a partial measure.
This is standard recommended practice for treating octave-transposing
instruments in a concert pitch score.
The passages in question do
Darcy,
I don't know of a way better than using an expression. That is, hiding the
clef change in the part with a staff style and putting an expression in its
place. (Once you get to a barline you can of course use a staff style for
the clef.) I do this all the time, and it doesn't see
Hi Robert,
Perhaps my memory is playing tricks on me? But I definitely had a solution in
earlier versions that did not involve expressions. I'll have to go back to an
old file and see what I did!
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On Apr 13, 2014, at 11:58 AM, Robert
Some bass players detest tenor clef. I have seen reviews in a bass
journal that said something like 'the much-feared tenor clef'
appearing in a piece that was being reviewed.
Raymond Horton
Bass Trombonist, Louisville Orchestra
Minister of Music, Edwardsville (IN) UMC
Composer, Arranger
VISIT
Using Finale 2011 for Mac, I followed the Manual's instructions for creating a
Coda in 2 fairly straightforward arrangements (i.e. plugins, measures, create
coda system). In both instances, the Coda plays back and displays correctly in
the score. But the linked parts do not show the space
Thinking back to 2011 - did you make the first measure of the coda Begin a new
staff system in measure attributes?
On Apr 13, 2014, at 1:33 PM, Gerald Kirk gdkir...@me.com wrote:
Using Finale 2011 for Mac, I followed the Manual's instructions for creating
a Coda in 2 fairly straightforward
My experience is that bassoonists, trombonists, cellists, and pretty much all
non-violists under the age of 40 detest C clefs. In new music, at least,
amongst younger players there is a very strong preference for ledger lines
above the staff (up to 4) or, for extended extreme high-register
Wow, Darcy.
Your experience is utterly different than mine. My experience is that
bassoonists, cellists, even bassists, and *especially* trombonists of all
ages read tenor clef with complete facility and without the first hint of
complaint. Trombonists also read alto clef. Could this be the
I have found exactly the same and certainly here in the UK they are taught
these clefs whilst at school and are expected to able to read them at sight
and with ease.
Cheers,
Lawrence
On 13 April 2014 23:07, Robert Patterson rob...@robertgpatterson.comwrote:
Wow, Darcy.
Your experience is
Nah, any classically-trained bassonist, cellist or trombonist should be
perfectly at ease with tenor clef in a classical context.
In jazz and commercial music, though, C clef is definitely a hindrance to
trombonists. I, for example, can read perfectly well when the context is
classical in
HI Robert,
I'm not talking about the jazz world, of course. I'm talking about the NYC new
music world.
And I'm also not talking about fluency or facility — of course they all read
tenor clef with facility — but about preference. Non-violists are always
telling me how much they hate C-clefs.
I learned Tenor Clef as a young cellist (easy for cellists - read one string
over for the lower pitches in Tenor Clef - what looks like open D string is an
open A string), and I now read it as if it were a Tenor Sax part, something I
am used to seeing in my own scores (I work in transposed
Okay, but I stipulate that is empty kvetching and not worth paying
attention to. Over the last dozen years of so I have had the opportunity to
play in an orchestra with quite a lot of NY giggers, and I have never heard
one peep about C clefs from any of them. I guess when Beethoven does it, no
one
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
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
As a former trombone player, I learned alto and tenor clefs when I was in high
school. Trying to gain some facility with soprano clef now. Never did see a
C-clef in a jazz chart. I have a card from a drummer that actually has a C-clef
on it--very gutsy.
ajr
Robert Patterson
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
* no trouble
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On Apr 13, 2014, at 10:10 PM, Darcy James Argue djar...@icloud.com wrote:
no zero
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