Robert Patterson wrote:
But to answer the question, the most likely explanation is that the transposition is set to force the clef to treble clef. This kind of transposition allows clef changes to exist in concert pitch display but hides them in transposed display. It is intended primarily for bass/baritone instruments, esp. low-pitched members of the clarinet and saxophone families. (Although treble-clef euphonium parts probably benefit as well.)
Well, considering that most treble-clef baritone/euph players tend to be recycled trumpet players, that's logical. When I 'encourage' my students to learn bass and treble clef for the baritone/euph, they resist until they've spent enough time in bands where you don't usually *get* both parts to play - just what's available.
Of course, sometimes I really think the tradition of having all bass clef parts written in concert pitch is more and more useful, and would have been great for treble/alto/tenor clef parts as well, until I get into playing C or Eb trumpet parts, and think about people getting confused about what transposition they're using this week, and messing it up.
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