........................................................................ On Mon, 18 Apr 2005 07:19:40 -0400, "Eden - Lawrence D." wrote:
> I am often undecided about using sharps as accidentals in flat keys > and using flats in sharp keys. > > I prefer to simplify the notation, substituting B for Cb, for example, > but I want to know what is the "correct" way to make the decision. > > I want my parts to be easily read and played correctly, but I don't > want to violate the rules of theory.. I (as an editor) tend to amalgamate the two approaches described by other posters. Not to sound overly Schenkerian, but I find that approaching the spelling matter with an equal weight to the requirements of both Harmony and Voice Leading (to quote from the title of the textbook I read as an undergraduate) is the best way to achieve a readable and theoretically accurate score. For example, a passage written as B-C-Eb-E will almost always need to be written with a D#, no matter what the key signature. The line moves stepwise, and for the performer to see a jump of a third will be confusing. As another example, if you're in the key of Ab Major, and you have a Db minor chord, you must use an Fb instead of an E. Calling it an E may seem like simplification, but notating an E in a chord that is ostensibly supposed to be a chord based on D is, again, quite confusing. In short, every situation must be evaluated in its own merits. Developing spelling rules that are intended to be universal almost always ends up being more of a burden than a help. -- Brad Beyenhof [EMAIL PROTECTED] my blog: http://augmentedfourth.blogspot.com Life would be so much easier if only (3/2)^12=(2/1)^7. _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
