On Aug 16, 2006, at 7:50 PM, A-NO-NE Music wrote:
Darcy James Argue / 2006/08/16 / 03:09 PM wrote:
For transposed scores, I disagree. The conductor should normally have
the same spelling as the players. If you make readability adjustments
to the enharmonics in the part, those should be included in the score
as well.
I respectfully disagree. Most of the situations I get in is where
music
is read on site. I avoid B#, Cb, E# and Fb on parts including chord
names, but the score needs to stay correct. In my compositions, the
'correct' means psychologically speaking, because my music never have
key sig, even for transposed parts. It is very important to me.
Even in a piece without a key signature, if you had a C#7 chord
resolving to F#m, and the melody outlined the C#7 chord, how could
you spell it except with an E#? Anything else would be MORE
confusing, not less. I understand that some unusual accidentals (like
double sharps and flats) are not to be thrown around lightly so as to
avoid obscuring communication, but sometimes you need them, darn it!
Even more so in works WITH key signatures, which I say use key sigs
if the piece is in a key, don't use them otherwise.
Christopher
(and I do endorse spellings on the transposed score matching the
parts. The only time I depart from that standard is if the composer
gives me a manuscript score that is stupid, then I correct stuff.
With his blessing, of course, but usually he doesn't know any better.)
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