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.
But are we not talking about 'choice' here?
Yes, Hiro, we are. And I agree with you that the parts need to be most
clearly, easily read for least problems when sight-reading. I also
agree that the chords should be written properly in the score. So if
I'm writing a Baug chord, I think the score should show Fx, but in the
part, to save time and confusion, I'll write a G (depending on the
musicians most likely to be playing it.) And I'll be most likely to put
that there if I'm writing some sort of progression where the Fx will
become a G on the next beat, rather than totally befuddle the
sight-reader by having the part move from Fx to G. Life goes so much
more smoothly when the part has a G moving to a G. :-)
And 'choice' is very important here -- I don't think there are any hard
rules which should be rigidly followed in such situations. Each of us,
especially those of us who are involved in getting music right out onto
music stands for immediate performance, needs to follow our own best
judgements for the situations at hand.
--
David H. Bailey
[EMAIL PROTECTED]
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