It's not clear to me what your main question is. Most of the answers you've gotten so far have addressed the issue of re-arranging the music, i.e., re-writing the accompaniment.
But I don't know that this was your main question -- I thought you were asking more about readability. I honestly don't think there's any pianist/accompanist worth her salt who wouldn't have no problems at all dealing with putting the right hand in bass clef during the passages that have too many ledger lines. As to the re-writing question, well, a good accompanist will thin the accompaniment to help the singer and voice the chords appropriately. I think I'd do the whole thing literally, and do the most minimal cleaning up of the accompaniment, since what is required will depend on the capabilities of the singer. I definitely would *not* recommend taking the accompaniment up an octave (at least not systematically), as that usually leads to major balance problems. To me, the much bigger problem is if you move from a black-note key to a white-note key (or vice versa) -- that can make the piece completely unplayable. While at conservatory I accompanied many singers on Brahms's "Botschaft." I'd learned the accompaniment (which is one of his harder ones -- talk about balance problems!) for a baritone, and then was asked to play it for a soprano. I don't remember which direction the problem went, but one was on the black keys and the other on the white keys. So, I had to completely relearn the piece as practically none of the fingerings I'd learned the first time around worked in the new key. I think this kind of thing is much more likely to cause stumbles than notating the right hand in bass clef. -- David W. Fenton http://dfenton.com David Fenton Associates http://dfenton.com/DFA/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
