As a band director I prefer transposed scores. Just as in the
orchestral world, I want to see exactly what the members of the ensemble
see on the printed page. That way it makes it so much easier to try to
resolve perceived mistakes. I say "perceived mistakes" because often
with dissonant chords like 7ths or 9ths I'll have people in my amateur
(but very advanced) community band ask if a note is correct when it is
in fact correct, it's just a dissonance with another note in the chord.
Occasionally it is actually a misprint, but most of the time it's just a
part of the harmony that the individual instrumentalist hears as a clash
but on the podium I hear the 7th or 9th chord come through with all its
grittyness just like it should.
Transposed score, please!
David H. Bailey
On 8/8/2018 2:02 PM, David Froom wrote:
Again, many thanks to Ryan Beard and Christopher Smith for all of the advice.
Very last question:
C score or transposed score? Again, coming from the orchestra world, I learned
from conductors who say that they want to see in front of them what the players
see — so when they ask about, for example, the Eb clarinet’s C# in measure 74,
they are asking about the written note C# that they and the player sees,
instead of having to translate from seeing a C-score E-nat (or saying “concert
E-nat”). So, all of my instincts and working methods tell me that I should
write a transposed score. But what do band directors want to see?
Does this answer depend on the band? This is for a professional group, with no
expectation that it ever would be done by high school or amateur or
non-conservatory college bands.
Thanks again,
David
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*****
David H. Bailey
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http://www.davidbaileymusicstudio.com
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