On 21-Jun-08, at 3:18 PM, John Howell wrote:
At 10:14 AM -0500 6/21/08, Randolph Peters wrote:
Christopher Smith wrote:
...I did it that way when I was using pen and ink, too. Finale
didn't invent the practice; it was current for most the second
half of the 20th century, as far as I can make out. Not everyone
used it, but it WAS used, and I find it very clear and unambiguous.
I have to second what Christopher says. I remember being one of a
number of people who lobbied the Finale people to include 8vb as a
notational option in the program. I can't remember in what version
they added it though.
I can't argue with everyone's practical experience, but could this
be one of the things (one of the MANY things!) in which jazz
practice and classical practice differ? After all, classical
players are quite often playing from 19th century engravings.
Oh, there aren't THAT many differences! There are way more
similarities. And I have seen 8vb in classical tuba parts, even ones
older than ten years, NOT copied with Finale.
But your point about classical players spending a lot of time with
19th C parts is valid, as that certainly informs their expectations.
I have gotten complaints from classical orchestral horn players, for
example, for handing out parts with key signatures. Apparently in
some orchestras that program mostly classical warhorses they can go
most of the season without ever seeing a part with a key signature,
and consider the inclusion of one on a horn part to be an error! Yet
it is a perfectly normal and correct convention in post 19th C music.
The trumpet and timpani players (who see similar parts in pre 20th C
repertoire) apparently are better-rounded players, because they deal
with the key signatures without so much as a raised eyebrow.
christopher
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