I switched back to concert pitch a few years ago. In my advancing years I want no unnecessary barriers. Another reason is that in recent years I have started writing a lot of vocal music, and no singer should ever be presented a transposed score, not unless the singer has perfect pitch, or unless you don't want to hear the pitches you wrote.
One reason I abandoned concert pitch scores was that transposed scores were *so much easier* with Finale in the 90s. But 21st century improvements to Finale and plugins have made that no longer a sufficient consideration for me. I have a personal aversion to the 8ve displacement clefs. I find the little "8s" to be ugly and inelegant. (One exception for me is the treble-tenor, where the "8" can be integrated into the clef elegantly, but that is not useful for transposing instruments.) The way I label concert pitch (on a per-instrument basis) is clear enough that I don't think there is any confusion mixing in the octave transposing instruments as notated. I suppose under this approach I could technically show an English Horn in concert pitch and a French Horn as transposed, but I of course don't do that. I have not noticed any playback problems with the expressions, but I am thinking that in the future I try using a concert-pitch staff style (placed only on score) and avoid "Display in Concert Pitch" altogether. That said, I rarely actually combine score and parts in a single file, and when I do I usually duplicate the transposing parts on two staves, one transposed and the other not, so that I can move the beams (and other permanently linked items) around the way I want them. Of course, in Fin12 there are many barriers to doing this, so I am referring to somewhat older scores where I took this approach. My process with linked parts is constantly under review. On Mon, Oct 1, 2012 at 12:20 PM, Darcy James Argue <[email protected]> wrote: > Hi Robert, > > Do you generally work with concert pitch scores? I seemed to recall you > normally work with transposed scores. In transposed scores, you'll only > ever see the octave-displaced clefs if you have "Display in Concert Pitch" > temporarily turned on (for, e.g., note entry). But they don't show up in > the printed score or parts. > > I'm wary of your expression-based solution because I find, when playing > back from the middle of the score, expressions that come before the > playback point are not reliably caught by Finale. > > Cheers, > > - DJA > ----- > WEB: http://www.secretsocietymusic.org > > > > On 1 Oct 2012, at 9:41 AM, Robert Patterson <[email protected]> > wrote: > > > 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 <[email protected]> > 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 <[email protected]> > >> 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. > >>> _______________________________________________ > >>> 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 > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
