The business about providing a C score for singers is a recommendation that comes from bitter experience. I wrote a cycle for soprano, horn, percussion, and piano. The singer is working from score. Originally it was a transposed score, but I quickly discovered the singers were much more comfortable seeing the horn where it sounded.
Same thing for a more recent cycle with bass clarinet. The singers I have worked with "get" C clefs way better than they get transposing instruments using G clefs. On Mon, Oct 1, 2012 at 8:15 PM, John Howell <[email protected]> wrote: > At 2:41 PM -0500 10/1/12, Robert Patterson wrote: > >No, I mean vocal chamber music with transposing instruments. > > > Ahhh. That didn't occur to me. Sorry. But why > is that really a problem? 90% of singers > couldn't read a viola part in alto clef, either, > but *I* would want to see it where it belongs. > Isn't that what the piano reduction is for in the > first place? It WILL be used for practice as the > singer learns his or her part. > > 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 > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
