At 10:40 AM -0500 12/15/05, Christopher Smith wrote:
On Dec 15, 2005, at 7:09 AM, josue moreno wrote:
Hi all,
i want a quick way to eliminate the "strange" transpositions, i
mean, when i transpose a part i want to avoid things like B# or Ebb
for instance.
Josue: I, too, would try to avoid such notation for very young and
inexperienced players, but there is nothing "strange" about them for
conservatory-trained, experienced players. And of course pianists
see them all the time. Check out some Chopin and Debussy, and
Tchaikovsky string parts!
If you are using key signatures, then most often the spelling that
is correct in the concert key is going to be correct in the
transposed key as well. For example, if you are in C major concert
and you have a D# leading to an E, then on an Eb Alto sax part that
will be a B# leading to a C#, which would be correct and recommended.
Exactly. If it's a leading tone you need to show it as a leading
tone and not make changes for the notationally challenged!
Sometimes when keys wrap around (like a part in E major concert
might show up as Db major rather than C# major on the Eb alto part)
the enharmonics need to be corrected (like a concert Fnat would be
show up as Ebb), and the best way to do this is manually. I would
recommend enharmonically respelling the entire passage, rather than
just the troublesome double flats.
Tell me about it!! I directed and arranged for a very good college
show group for 14 years, and the keys I picked were the keys that
were right for the voices. (This was in the '80s, pre computer
engraving.) My poor alto and bari players simply had to learn to
read "strange" notes, and they did. But that wraparound to Db major
used to give me a headache just trying to keep it straight in my mind!
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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