At 8:28 PM -0400 6/10/12, Christopher Smith wrote:
>
>I totally agree with the first clause of that sentence, but if the
>accidentals are technically correct (see my first paragraph) there
>shouldn't be any dissent. Players who automatically scoff at a C flat
>just don't get out enough in my opi
On 10-Jun-12, at 10-Jun-12 12:42 AM, Darcy James Argue wrote:
> To be fair, it's also because "proper" vertical spelling of
> enharmonics in highly chromatic music (like jazz, and like a lot of
> interesting pop/B'way/etc) frequently results in less legible parts
> than you'd get by spelli
We found another way - we sacked him. :-)
Cheers,
Lawrence
On 10 June 2012 22:51, John Howell wrote:
> I simply learned a new set of
> fingerings. (And a third set the summer I played
> a CC tuba.) That's what your Eb tuba player
> needs to do, just treat it as a new instrument
> with a new
At 9:55 PM +0100 6/10/12, Lawrence Yates wrote:
>I once played in a brass group with a brass band Eb tuba player who could
>only read treble clef Faced with bass clef (in concert pitch) parts, we
>told him to knock off 3 flats and play it as treble - no way, he couldn't
>do it. I got a piece of p
I once played in a brass group with a brass band Eb tuba player who could
only read treble clef Faced with bass clef (in concert pitch) parts, we
told him to knock off 3 flats and play it as treble - no way, he couldn't
do it. I got a piece of paper and drew treble clefs on it and stuck it
over t
On Jun 10, 2012, at 11:05 AM, John Howell wrote:
>
> And a couple of years ago I did an arrangement
> for a pickup church orchestra that spent some
> time in the key of Gb major. Without thinking
> about it I kept the string parts in Gb. And boy,
> did they complain! The next week I broug
At 1:42 AM -0300 6/10/12, Darcy James Argue wrote:
>
>I'm all for spelling basic chord tones
>consistently on parts that actually show the
>entire harmony (piano, guitar). At no point
>should anyone ever write a B major seventh chord
>with an Eb and A#. But at at a certain point,
>musicians of
I'm not talking about esoteric spelling matters that are the legitimate
topic of debate. I am talking about D major chords spelled with G-flat.
On Sat, Jun 9, 2012 at 11:42 PM, Darcy James Argue wrote:
> To be fair, it's also because "proper" vertical spelling of enharmonics in
> highly chromatic
I wondered if someone would choose the option that isn't. Almost any horn
player who is trying to be pro is trying to make the transition to
orchestra as quickly as possible, because that is where almost all
professional grade horn music is. (I know about the military bands, but
horn players choose
On 6/9/2012 6:16 PM, Robert Patterson wrote:
> About the key sigs, I guess I am confused. Are you saying you would rather
> them play the wrong notes than pencil in the accis? Because that's your
> choice given one rehearsal (which is how many most of my gigs with key sigs
> have).
>
[snip]
My cho
On Jun 9, 2012, at 9:42 PM, Darcy James Argue wrote:
> To be fair, it's also because "proper" vertical spelling of enharmonics in
> highly chromatic music (like jazz, and like a lot of interesting
> pop/B'way/etc) frequently results in less legible parts than you'd get by
> spelling parts in a
I really think we are talking about two different things here, Darcy.
Nobody complains at the intelligent respelling of notes that an good
arranger such as yourself will use for logical reading. (And horn
players, particularly, do not like double sharps and flats.) But I
see, very often, the sam
To be fair, it's also because "proper" vertical spelling of enharmonics in
highly chromatic music (like jazz, and like a lot of interesting pop/B'way/etc)
frequently results in less legible parts than you'd get by spelling parts in a
horizontally logical fashion.
At one point, I experimented wi
Well, G flat in the key of G is not completely out of the question, but I get
your point.
A lot of pops arrangers come from a jazz background, where proper enharmonic
spelling seems to be valued much less. Maybe it's because they don't realise
that string players actually choose a different fin
At 5:16 PM -0500 6/9/12, Robert Patterson wrote:
>About the key sigs, I guess I am confused. Are you saying you would rather
>them play the wrong notes than pencil in the accis? Because that's your
>choice given one rehearsal (which is how many most of my gigs with key sigs
>have).
At least in th
BTW, back on topic. I occasionally run into a pops chart using the old bass
clef notation convention, so clarifying is probably still a good idea.
(Bass clef of any kind is rare in pops music.) But depending on how low the
notes are on the clef, horn players have a default setting for one or the
ot
I see as much pops rep as any pro horn player, and almost all of it has key
sigs, so you are certainly going with the flow. Nevertheless I greatly
appreciate when the parts don't. Key sigs are not a problem except when the
(often just momentary) key of the piece is different than the key
signature.
At 3:34 PM -0500 6/9/12, Paul Hayden wrote:
>How many years has it been since any composer
>wrote a horn part in the bass clef intending it
>to sound up a fourth? I still write a note about
>how "the horn part sounds down a fifth
>regardless of clef". But do you think this is
>_really_ necessa
They're professionals, they do what they have to to get the right note out. I
can deal with the pencil marks, but I am bemused that they find them necessary.
The freelancers have no problems; it's a couple of older tenured guys who play
95% pre-20th century repertoire that complain, and they mos
About the key sigs, I guess I am confused. Are you saying you would rather
them play the wrong notes than pencil in the accis? Because that's your
choice given one rehearsal (which is how many most of my gigs with key sigs
have).
On Sat, Jun 9, 2012 at 3:48 PM, Christopher Smith <
christopher.sm..
Yes, because horn players still regularly play the repertoire where that
terrible convention was used, and might assume that the composer meant it that
way.
Heck, I get complaints from horn players who play mostly Classical repertoire
because I write with key signatures! Sheesh, get with it, gu
Depends how low it is. If the part goes below the bottom line G, I would
say yes.
On Sat, Jun 9, 2012 at 3:34 PM, Paul Hayden wrote:
> How many years has it been since any composer wrote a horn part in the
> bass clef intending it to sound up a fourth? I still write a note about how
> "the horn
Being a horn player myself, I always appreciate when it's indicated how
bass clef is treated. If it's not specifically indicated in the part, then
there's going to be a question which just takes up rehearsal time.
On Sat, Jun 9, 2012 at 1:34 PM, Paul Hayden wrote:
> How many years has it been si
How many years has it been since any composer wrote a horn part in the bass
clef intending it to sound up a fourth? I still write a note about how "the
horn part sounds down a fifth regardless of clef". But do you think this is
_really_ necessary in 2012?
Paul Hayden
Magnolia Music Press
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