Message-
From: David Froom [mailto:dfr...@smcm.edu]
Sent: Monday, August 06, 2018 12:01 PM
To:
Subject: [Finale] Band/wind ensemble questions
Hi all,
I'm really hoping to enlist someone who regularly writes for band to give me
some advice.
I'm writing this for a top notch, pr
As a band director I prefer transposed scores. Just as in the
orchestral world, I want to see exactly what the members of the ensemble
see on the printed page. That way it makes it so much easier to try to
resolve perceived mistakes. I say "perceived mistakes" because often
with dissonant ch
Unlike in orchestra scores these days, transposed is overwhelmingly the choice
of concert band and wind ensemble composers and arrangers.
If you decide non-transposed, C score (rather than strict concert score) is
suggested, otherwise your piccolo, string bass, xylophone, and glockenspiel
parts
Transposed.
But I know a few band composers who provide C scores, so it’s not unheard of.
But, as long as it’s indicated on the first page of the score, you’re good.
Full Transposed Score
or
Full Concert Pitch Score
Ryan
> On Aug 8, 2018, at 11:02 AM, David Froom wrote:
>
> Again, many than
Again, many thanks to Ryan Beard and Christopher Smith for all of the advice.
Very last question:
C score or transposed score? Again, coming from the orchestra world, I learned
from conductors who say that they want to see in front of them what the players
see — so when they ask about, for exam
Paper size.
For parts, please don’t use anything larger than 10x13. The folders that the
players keep their music in aren’t much wider than that. For score, 11x17 is
pretty standard since it’s a standard page size. Personally, I feel 11x14 is
more elegant, but 11x15 should be fine.
In the publi
You should double up parts on the score. Since cues, grace notes, and the like
screw up linked parts in that case, you should probably have a separate file
for all the parts, each on its own staff. I prefer to work this way, and
combine to make the score at the end. It makes copying from one par
Hi Christopher and Ryan,
Thank you both for amazingly helpful responses!!!
This leads two more questions:
Paper size:
If you are not removing any staves, this is pretty tiny! I printed out a test
page, and even with some of my tricks (thicker staff lines, bigger notehead
size), it seems sma
Doubling the winds can open the door to longer melody lines in those sections.
I looked back over my first band/WE score, and I see how much of it was
predicated on sections of multiples staggering breathing. I'm sure if anyone
does play it one-to-a-part good players can make it sound effortless
1) It’s pretty much evenly split. I prefer Bassoons below clarinets, but others
prefer them below oboes. If your bassoons only play with the oboes creating a
double reed mini ensemble, then you might want bassoons below. If you bassoon
parts are pretty independent from oboes, but mostly double t
Hi David,
I conduct a wind ensemble, and arrange for it.
1. I’ve seen both, but the modern preference is for bassoons to go below the
low clarinets.
2. Again, I’ve seen both, but trumpets, horns, trombones is the way I see it
most often. This is even more universal than the bassoon placement.
Hi all,
I’m really hoping to enlist someone who regularly writes for band to give me
some advice.
I’m writing this for a top notch, professional group. Some questions:
For score order, there seem to be some variations from orchestral standard. But
different sources say different things. Here a
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