I wrote:
>I have been surprised to find
>> many late 19th and 20th C composers using alto clef for trombones 1
>> and 2, e.g. Dvorak ('Cello Concerto), Prokofiev (Lt. Kij�) and
>> Shostakovich (Symphony 10). I was also intrigued to find that in the
>> recently published Del Mar edition of the Beethoven symphonies, not
>> only do the trombones have the usual three clefs (alto, tenor and
>> bass) to indicate which instruments the composer wants the players to
>> use, but also that when, towards the end of the 9th, space requires
>> that 1 and 2 share a stave, the clef is alto!
and David Fenton asked:
>Is that in the score or in the parts? Or both?
In all cases, in the score. However, only in the case of the Beethoven
would I expect the Trombone 2 part to be different.
>There is an important distinction here -- making a readable score may
>require somewhat different clef choices than making readable parts.
Certainly you get different clefs when the score is concert pitch, and
when one stave in the score contains two parts, as in that part of the
Beethoven. I have never noticed it otherwise, and since the point of
transposing scores is largely to make sure that the player and the
conductor are looking at exactly the same thing, I would regard
different clefs as a step towards lesser readability.
--
Ken Moore
[EMAIL PROTECTED]
Web site: http://www.mooremusic.org.uk/
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