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
I have written scores where the transposition from C us indicates but
bracketed. So a Bb
I'm not sure I understand this. It sounds like it would confuse the
daylights out of me but, as I say, I'm not sure I understand it.
Cheers,
Lawrence
On 13 October 2012 10:29, Steve Parker st...@pinkrat.co.uk wrote:
I have written scores where the transposition from C us indicates but
i think no
conductor on earth would prefer a transposed score here.
In this situation I really would like a transposed score. Knowing exactly what
instruments are being used and seeing the pitches they are reading makes a lot
of difference fingering for different pitches etc.
Of course,
What ruffles my feathers is the suggestion implied by
more than one person in this discussion that a preference for concert pitch
is ipso facto an admission of inferior aural/reading skills.
Probably I am one such person in this discussion..
It's not my opinion at all that preference for
Perhaps this is just a silly question, but it
just occurred to me as I follow the comments in
this thread.
Is anyone who advocates a concert pitch score and
does not use key signatures also advocating
providing concert pitch PARTS for all
instruments? As if, for example, you were
writing
No, of course not.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On Oct 13, 2012, at 1:45 PM, John Howell john.how...@vt.edu wrote:
Perhaps this is just a silly question, but it
just occurred to me as I follow the comments in
this thread.
Is anyone who advocates a
advocating providing concert pitch PARTS for all instruments?
hein?!?! no way. you would get laughed out of the rehearsal.
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Do you mean in the KEY of C, or in the Concert key (piano,bass, drums, etc.) ?
Most vocalists I work with want the score in her key to fit her vocal range.
Usually the female key is a major 4th or 5th above the standard key.
This fits an alto range. The standard key is for a male tenor
At 1:23 PM -0400 10/12/12, William Sinclair wrote:
Do you mean in the KEY of C, or in the Concert
key (piano,bass, drums, etc.) ?
Most vocalists I work with want the score in her key to fit her vocal range.
Usually the female key is a major 4th or 5th above the standard key.
This fits an alto
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
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.
not to mention it being reactionary and in fact completely beside the point.
alto clefs (ever heard of this instrument
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
Once again, I am in complete agreement.
Lawrence
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
I agree with David, too. I would not advocate, for example, Mozart in a
concert pitch score. What ruffles my feathers is the suggestion implied by
more than one person in this discussion that a preference for concert pitch
is ipso facto an admission of inferior aural/reading skills. That is a
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