Octave displaced clefs is certainly one way to do it. I find them to be
overly fussy and potentially not as clear as regular clefs. One could
change the glyph for the octave displaced clefs (and I have tried this),
but then you can't tell the octave-displaced from the regular, so you could
potentially have errors that cost time figuring out.

Another approach I have not tried is applying score-only staff styles to
the instruments that I want to show in sounding pitch. It seems like it
might work.

But really, the transposing expression works beautifully. You can put them
into the instrument change names. Then if you hear an instrument playing
back in the wrong octave, you know you have forgotten the expression to the
player for changing axes.

On Mon, Oct 1, 2012 at 8:02 AM, Steve Parker <st...@pinkrat.co.uk> wrote:

> Maybe I'm misunderstanding but if I make a concert score (never by
> choice..) I make liberal use of octave displaced clefs.
>
> Steve P.
>
> On 1 Oct 2012, at 04:50, Robert Patterson <rob...@robertgpatterson.com>
> wrote:
>
> > I am writing a contrabassoon part in a C score. The way I usually handle
> C
> > scores is that I label each transposing instrument "sounding as written",
> > but I do not so label octave transposing instruments. That allows me to
> not
> > be fussy about them.
> >
> > But it puts me in a quandary for correct playback, and I had thought
> > transposing expression would work. But I am finding (at least sometimes)
> > they don't transpose. Specifically, I have a bassoon/contra doubling
> part.
> > When the contra part starts I put a hidden "T-12" transposing expression
> in
> > the score. It was actually working, but then it stopped, and I have no
> idea
> > what changed. I certainly did not change anything on purpose.
> >
> > Does anyone know why a transposing exp. might not transpose? Oddly
> enough,
> > my piccolo expressions are transposing. Go figure. The options in the
> > assignment dialogs for both contra and piccolo exps look the same to me.
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