On 16 Aug 2006, at 9:14 PM, Christopher Smith wrote:
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#?
Well, let's say the progression is C#7 - F#mi7 and the line is
(descending) C# - B - G# - E#, going to E nat. on the F#-7. In that
case, I *would* probably use F instead of E#. But either way, if it
were a transposed score, I'd definitely make sure it was spelled the
same way in the part as the score.
On the other hand, if this was a Bb trumpet part derived from a
concert pitch score, I might want D#-C#-A#-G-F# on the part, but it's
also possible I might prefer Eb-Db-Bb-G-Gb, or even Eb-Db-Bb-G-F#.
In any event, when using a concert pitch score, the conductor must
always assume that the part might sometimes make use of enharmonic
equivalents to create a more readable linear passage for the player.
Cheers,
- Darcy
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Brooklyn, NY
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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