My method doesn't change. I assume the horn's key signature is C if it doesn't have one, and if it's Horn in E, and the notes written are C D E, that's the 1st, 2nd and 3rd degrees of E major, or E F# G#. Never fails (though it gets a little slow in 16th note passages...)
Christopher ----- Original Message ----- From: Ryan <[email protected]> Date: Monday, November 22, 2010 2:56 pm Subject: Re: {Spam} Re: [Finale] OT: historical use of C clefs for voice parts To: [email protected] > What method do you use if the horn part doesn't have a key signature? > > On Mon, Nov 22, 2010 at 11:01 AM, > <[email protected]> wrote: > > > I must say, I transpose by solfège (scale degree.) If I see a > horn part, > > say for F horn with no key signature, I see a C then I know > it's the first > > scale degree of the key I'm in, or F. If I see a D#, then I > know it's the > > raised 2nd degree of the key I'm in, so G#. No transposition > can throw me > > this way! (if I get the octave correct!) > > > > While I read alto and tenor clefs almost as well as bass or > treble, I have > > so little experience with the other clefs that it would slow > me down > > immeasurably. I have nothing but respect for those among you > who read them > > easily! > > > > christopher > > > > ----- Original Message ----- > > From: John Howell <[email protected]> > > Date: Monday, November 22, 2010 1:17 pm > > Subject: Re: {Spam} Re: [Finale] OT: historical use of C clefs > for voice > > parts > > To: "David H. Bailey" <[email protected]>, > > [email protected] > > > > > At 6:46 AM -0500 11/22/10, David H. Bailey wrote: > > > > > > > >What I meant by "in reverse" is that if I'm looking at a > > > written F > > > >in an F horn part, I can use the mezzo-soprano clef to get the > > > >concert pitch note (Bb). But what if I'm looking at a > > > concert pitch > > > >score, how do I figure out what note the F horn should play, > > > using > > > >clefs? > > > > > > Ahhh. Thanks! That makes good sense. I guess > > > my confusion was > > > because I almost never look at a concert pitch score if I > have a > > > choice! > > > > > > >So I'm looking at a printed Bb but need to find a clef that > > > will > > > >show me that as an F. I guess the baritone clef would do > > > the trick. > > > > > > To avoid confusion, let's assume that you mean concert Bb4, > > > which > > > should be notated as an F5 (5th line) for horn in F. (Or > > > to be > > > perfectly clear, should be notated on the top line, since part > > > of the > > > confusion is in ASSUMING note values for the lines and spaces, > > > and > > > those CHANGE with each alternate clef.) So no, baritone > > > clef (F3 on > > > the 3rd line) wouldn't work, since the 5th line would then be > > > C4, not > > > Bb3. The problem is that both notes are on lines, so you > > > can't use > > > any C clef (since F will be on a space). In > > > fact I can't make my > > > mind work that way, so I'm not sure it CAN be done with the > > > available > > > clefs. > > > > > > >But along with all this clef stuff, one needs to also remember > > > the > > > >"add 1 flat when going from F-horn to concert pitch" and > > > "remove 1 > > > >flat when going from concert pitch to F horn." That makes > > > all the > > > >various rules regarding the use of clefs pretty daunting to > > > learn > > > >and remember. > > > > > > LEARNING the system, and learning to THINK in the different > > > clefs > > > rather than having to stop and think and decode them, is indeed > > > daunting. So is most everything in music, if you stop to > > > think about > > > it, until AFTER you've learned it. THEN, and only > then, is > > > it easy > > > to work with. I'm about halfway there with the movable > > > clefs, since > > > I didn't learn them until grad school, and that's really much > > > too > > > late. > > > > > > > > > > >I find it much easier to think of transposition in a more fixed > > > >manner: F on an F horn equals Bb in concert pitch. > > > Doesn't matter > > > >which end of that statement I'm coming from, since the equality > > > >works both ways. And it doesn't matter whether the Bb is > > > because of > > > >the key signature or because of an accidental, the equality > > > still > > > >applies. > > > > > > Yes, I think most of us think that way. But the clef > > > system wasn't > > > originated to make transposition easy. That's just a > > > useful side > > > effect. It was originated in order to keep most of the > > > notes in > > > Guido's system of chant notation within the staff, to make it > > > easier > > > for monks copying music with feathers!!! > > > > > > John > > > > > > > > > -- > > > John R. Howell, Assoc. Prof. of Music > > > Virginia Tech Department of Music > > > College of Liberal Arts & Human Sciences > > > Blacksburg, Virginia, U.S.A. 24061-0240 > > > Vox (540) 231-8411 Fax (540) 231-5034 > > > (mailto:[email protected]) > > > http://www.music.vt.edu/faculty/howell/howell.html > > > > > > "We never play anything the same way once." Shelly Manne's > > > definitionof jazz musicians. > > > _______________________________________________ > > > Finale mailing list > > > [email protected] > > > http://lists.shsu.edu/mailman/listinfo/finale > > _______________________________________________ > > Finale mailing list > > [email protected] > > http://lists.shsu.edu/mailman/listinfo/finale > > > _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
