At 8:28 PM -0400 6/10/12, Christopher Smith wrote: > >I totally agree with the first clause of that sentence, but if the >accidentals are technically correct (see my first paragraph) there >shouldn't be any dissent. Players who automatically scoff at a C flat >just don't get out enough in my opinion, but what are you SUPPOSED to >do with flat 7th degree in the key of Db, say in a blues line?
Christopher: I agree with much that you say, but in that last sentence the key word is "line." If a Cb makes sense, have fun with it. But if a B natural makes MORE sense in the context of a given melodic line/scale/whatever, go ahead and misspell it. I also find that after copying lines from one instrument to another in a large score (concert band or orchestra), during final editing I may very well CHANGE the enharmonic spellings in one part and not another because the lines DO lie differently on the different instruments (or voices). But it helps to know the instruments and how things lie on them, as it does on stringed instruments. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[email protected]) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
