[Christopher B. J. Smith:]
>> I don't know whether this is universal, but the way I was taught when
>> writing concert-pitch scores, octave-transposing instruments such as
>> picc, contrabassoon, glock, and double bass are written in the octave
>> read by the player regardless. This seems to fly in the face of the
>> convention of concert pitch, where EVERYTHING should be written where
>> it sounds, but I learned to call these things C scores, not
>> concert-pitch scores.
Well, Kennan (yes, I know someone said he was out of date) says that C
scores can either have everything at concert pitch, or else make an exception
for the usual octave transpositions. It also says that the glockenspiel (in a
normal, transposing score) can transpose either one octave or two.
Clearly composers should always attach a note at the start of their score,
explaining what conventions they are using.
[Darcy James Argue:]
>Again, this problem is easily avoided by using octave-transposing clefs for
>octave-transposing instruments.
Are they those treble or bass clefs sometimes found in more recent scores
which have a little "8" respectively above or below them, to indicate an octave
transposition? (Do you ever find treble clefs with a "15" above them?)
But...
[Christopher B. J. Smith:]
>But that brings up another problem, which is that those instruments
>do not read with octave clefs, but in ordinary treble clefs and bass
>clefs.
... this seems to indicate otherwise - that the octave clefs are something quite
*different* from treble or bass clefs.
Could someone please explain this? The clefs I know about are treble and
bass clefs, the same with an "8" above or below, and the C-clefs in various
positions. These are never used with octave-transposition, as far as I know.
So what octave clefs are being referred to here? What do they look like,
and how (if at all) do you transpose from the "obvious" reading of the notes?
Regards,
Michael Edwards.
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