Once again we have the assumption that the use of C scores implies anything whatsoever about the skillset of the people that use them.
That said, if you can't read C scores, there's a whole lot of important literature that is a closed book to you. On Fri, Oct 12, 2012 at 8:30 PM, Steve Parker <[email protected]> wrote: > I'm an old enough repetiteur that standard skillset includes reading and > reducing at sight orchestral, windband and brassband scores. > > C scores give me (irrationally) the same kind of offence I would get from > transposing the works of Chopin into C major to make them easier to > learn.... > > Steve P. > > On 12 Oct 2012, at 17:11, Patrick Sheehan <[email protected]> > wrote: > > > In the same vein for hearing things in your head, EVERY SCORE in this > world > > should be a C-Score. EVERY. SCORE. > > > > Patrick J. M. Sheehan > > Music Director, Instructor: Woodlawn Arts Academy > > P. S. Music > > Host: "The Saturday Blues" on 89.5 WNIJ-FM, 1 pm - 4 pm (CST) & WNIJ.org > > 1-815-973-2317 (m) > > > > [email protected] > > > > -----Original Message----- > > From: David Froom [mailto:[email protected]] > > Sent: Tuesday, October 02, 2012 12:40 PM > > To: [email protected] > > Subject: Re: [Finale] Transposition Exp. > > > > On 2 Oct 2012, at 1:00 PM, Robert Patterson wrote: > > > >> One could discuss all day longs things that singers should and should > not > >> do. I think books have been written on the subject. But they are beside > > the > >> point here. > >> > >> What I am saying is, if you want the best performance out of the most > >> number of singers, I highly recommend providing a C score. I have paid > the > >> price for not so doing and I won't make the same mistake twice. > > > > Robert is absolutely correct here! This is my experience, even with > > well-known, successful singers, even those who have sung a lot of > > contemporary music. They simply want to be able to quickly find their > pitch > > from the score, and if they are constantly checking to see who is playing > > and remembering what that instrument's transposition (at the moment, for > > scores with switching instruments), it can seriously disrupt a rehearsal > > and/or a performance. The best singers, if you give them a transposed > > score, might just ask you to make a C score for them. I'm talking about > > non-tonal music here. > > > > Conductors keep their eyes on the whole thing all the time. Singers have > > their own part, but in performance need to look out at the audience as > much > > as possible, so they jump back to their score for quick reference to > their > > part as well as the other instruments, often jumping from instrument to > > instrument for a reference pitch. They also have to think about dramatic > > projection, etc. Why make their lives more difficult, or increase even > by a > > couple of hours the time needed for learning and rehearsing? > > > > My solution is to create a C score for the singer and a transposed score > for > > the conductor. Everyone is happy, no one is confused. > > > > David Froom > > > > > > _______________________________________________ > > 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
