Well, the problem with octave clefs is that those instruments DON'T read in those clefs,
Well, sure, but a bari sax or bass clarinet doesn't (normally) read in bass clef, either. Those clefs don't go on the *parts*, they go on the score.
they read in regular treble and bass clef, and use of an octave clef for say, double bass, (or even worse, guitar or glock, for which parts are routinely notated in wrong octaves) would result in a host of questions about what octave was actually intended.
All I can say is, that's not my experience. In vocal music, there is nothing ambiguous about a treble clef with an "8" below it, and pretty much every conductor in the world is going to be familiar with that notation and be able to extrapolate from there. I realize that concert pitch scores without octave-transposing clefs can be ambiguous, but a true concert pitch score with octave-transposing clefs is absolutely unambiguous. I've never, ever had to explain these clefs notation to a conductor.
Of course, if I'm asked for a transposed score, I provide a transposed score. I'm comfortable with either transposed or concert pitch scores. And like I said, there are any number of reasons why someone might prefer a transposed score. All I'm saying is that in my experience, *if* one is going to use a concert score, octave-transposing clefs are an excellent way of eliminating possible ambiguities with regard to the octave-transposing instruments, without cluttering the score with ledger lines. This solution also allows the individual musicians to read the part in the clef to which they are accustomed.
- Darcy
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[EMAIL PROTECTED] Brooklyn NY
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