Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
For those of us who play natural horn, parts transposed for horn in F are a nuisance I did a concert last week where we had to back-transpose bnrcause orignal parts were not provided. Even when I play the modern instrument I would never play from transposed parts - as John said, there is information there which is immediately obvious in the originals but which has to be looked for in a transposed part. Cheers, Lawrence -- Lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
The last time I had to mark up a set of orchestral parts from a critical Bärenreiter edition of a Mozart opera, there were two sets of horn parts. The horn players told me they preferred to use the parts written as in the original, without key signatures. As to David's original question, I would think that the key signature was just a mistake made by a careless engraver. Michael On 30 Oct 2010, at 02:57, John Howell wrote: At 8:22 PM -0400 10/29/10, David W. Fenton wrote: On 29 Oct 2010 at 16:53, Chuck Israels wrote: That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Conventions and traditions don't have to be logical, and often are not. And you might not like them, but that won't change them. I would be interested to know what the part sets that go with modern critical editions have in them, i.e., if they have both natural horn parts in C and parts notated with a key signature for horns in F. As you know, most modern part sets are reprints of public domain sets, so those normally have only the original parts. But Luck's, Kalmus, and perhaps others have made a point of preparing and publishing sets that include transposed parts for modern standard instruments, including clarinets in Bb, trumpets in Bb, and horns in F, and quite often trombone parts in bass clef as well. Highly experienced orchestral players often prefer to read from the original parts, feeling (as do many early music players) that they provide information that's lost in a modern edition. Critical editions are a different animal, and I'm not sure how those sets are handled. Since they are also almost always much more expensive than the reprints (especially the Bärenreiter editions), I usually see the reprint parts. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
{Spam} Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
At 11:29 PM -0500 10/29/10, Robert Patterson wrote: I don't personally know a single professional horn player who works from F-transposed parts. Yes, and that's what the folks on the jazz and commercial side need to understand. Part of an orchestral horn player's pre-professional education is working through the orchestral excerpts books and learning to play from original notation in any reasonable transposition at sight. The worst I ever ran into was in high school, when I was still a horn player, and was playing 4th in a university conducting class orchestra. One of the Brahms symphonies has horn in B, a tritone transposition!!! (And yes, it was REALLY for horn in B, or H, and not in Bb basso!) My problem is that in our small-town-with-a-large-university, when I recruit horn players for our chamber orchestra they are often band players, not orchestral players, and they have NOT learned to transpose from original parts, so I've had to learn where to obtain the transposed parts (and sometimes to transpose them myself for those players). But it's like the need to provide euphonium parts in band arrangements in both bass clef and transposed treble clef. You can argue all you want about why it shouldn't be necessary, but in practice it is, and we give the players what they want to see. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On 29 Oct 2010 at 23:29, Robert Patterson wrote: I can't speak about critical editions of classical pieces, because I've only seen original notation in those editions. (Frankly, it surprises me to learn an F-transposed part might be available from, e.g., Bärenreiter.) Nobody said that such a part was available. I *asked* if the part sets for modern critical editions included parts other than the original notation or not, but nobody seems to know. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
{Spam} Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On 30 Oct 2010 at 10:01, Florence + Michael wrote: The last time I had to mark up a set of orchestral parts from a critical Bärenreiter edition of a Mozart opera, there were two sets of horn parts. The horn players told me they preferred to use the parts written as in the original, without key signatures. Both parts of that don't surprise me, i.e., that Bärenreiter provides alternate parts in modern notation, and that the players prefer the original! As to David's original question, I would think that the key signature was just a mistake made by a careless engraver. This is my conclusion at this point, but it's unusual to find such a- musical things in engraving, in my experience. I have come to be believe that most engravers were fine musicians with good musical judgment, and served as another layer of editing to make the readings clearer and better. This particular edition is not from a major publisher, so I've not seen anything to compare it to. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
I agree, nobody said it. It was surprising to think about the possibility considering who I would have thought the target market for a critical edition might be. I can state that many performance materials based on critical editions do not include F-transposed horn parts. (My knowledge is mainly limited to chamber music by Mozart, Schubert, Beethoven, etc.) However, based on another comment in this thread it appears that some pieces do come with F-transposed parts. On Sat, Oct 30, 2010 at 4:39 PM, David W. Fenton lists.fin...@dfenton.comwrote: On 29 Oct 2010 at 23:29, Robert Patterson wrote: I can't speak about critical editions of classical pieces, because I've only seen original notation in those editions. (Frankly, it surprises me to learn an F-transposed part might be available from, e.g., Bärenreiter.) Nobody said that such a part was available. I *asked* if the part sets for modern critical editions included parts other than the original notation or not, but nobody seems to know. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
I know you were asking about horns, but a flute/recorder friend of mine mentioned in passing that the Barenreiter edition of Handel's Water Music has the flute part( (in the G major suite) in the original French violin clef and it was for a flute tuned to G. She hated the fact she was having to do three types of transposing on the fly: the clef, the key, and then the octave required. Thanks Kim On Sat, Oct 30, 2010 at 6:52 PM, Robert Patterson rob...@robertgpatterson.com wrote: I agree, nobody said it. It was surprising to think about the possibility considering who I would have thought the target market for a critical edition might be. I can state that many performance materials based on critical editions do not include F-transposed horn parts. (My knowledge is mainly limited to chamber music by Mozart, Schubert, Beethoven, etc.) However, based on another comment in this thread it appears that some pieces do come with F-transposed parts. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
Pro horn players prefer the original parts, yes, but that flute part is a whole different ball o' worms. Slip a transposed part in there, goodness! Raymond Horton Composer, Arranger Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC VISIT US at rayhortonmusic.com On Sat, Oct 30, 2010 at 7:21 PM, Kim Patrick Clow telem...@gmail.comwrote: I know you were asking about horns, but a flute/recorder friend of mine mentioned in passing that the Barenreiter edition of Handel's Water Music has the flute part( (in the G major suite) in the original French violin clef and it was for a flute tuned to G. She hated the fact she was having to do three types of transposing on the fly: the clef, the key, and then the octave required. Thanks Kim On Sat, Oct 30, 2010 at 6:52 PM, Robert Patterson rob...@robertgpatterson.com wrote: I agree, nobody said it. It was surprising to think about the possibility considering who I would have thought the target market for a critical edition might be. I can state that many performance materials based on critical editions do not include F-transposed horn parts. (My knowledge is mainly limited to chamber music by Mozart, Schubert, Beethoven, etc.) However, based on another comment in this thread it appears that some pieces do come with F-transposed parts. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
At 7:21 PM -0400 10/30/10, Kim Patrick Clow wrote: I know you were asking about horns, but a flute/recorder friend of mine mentioned in passing that the Barenreiter edition of Handel's Water Music has the flute part( (in the G major suite) in the original French violin clef and it was for a flute tuned to G. She hated the fact she was having to do three types of transposing on the fly: the clef, the key, and then the octave required. Using the original clef (if that's what it is) is a throwback to the older editing practice, so I wonder when that edition was made. Editions from the past 50 years or so would tend to have modern clefs, but give an incipit showing what the original was. But there's always a bit of a question regarding the word flute in Handel's music. In fact it usually meant recorder, while traverso would have indicated the cross-flute. And the French violin clef was commonly used to transpose music for one instrument to the other, since the lowest notes of the traverso and the treble recorder were a minor 3rd apart. A suite in G/B minor suggests traverso, sure enough, but an instrument in G?!!! Possible but highly unlikely. That would make me think it was for recorder, if your friend is judging from the lowest written note being a G4. Modern flute players tend to ignore these distinctions, and assume that ALL music using the word flute was intended for their instrument. And they are often wrong. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
As far as horn transpositions go, the worst are not the Brahms parts in H. The worst are the Wagner parts that change transposition every few bars - part of the early experimentation in which Wagner treated valves as quick-change crooks. In the first 16 bars of the first horn part of the famous Prelude to Act 3 of _Lohengrin_ there are five transposition changes. And, yes, pros prefer to read the original version of that, also, as a rule. Sure, nowadays there is no reason not to include the transposed F horn parts in any new printed editions, but teachers should continue to teach the players to grow and not use them. Same with Bb trumpets, and bass clef trombone parts. The players need to be able to read the thousands of editions out there which do not have substitute parts, unless they want to put severe limits on their musical contribution for their entire musical lives. Both treble and bass clef euphonium parts are always necessary in band - but that's a different tradition. Good players will want to learn the other clef, so more music will be available to them, but others can continue happily playing in bands only with their beginning clef if they wish. Actually, a euphonium player benefits by learning bass, treble (Bb), treble (C), and tenor clefs, as well as F horn transposition. That way he or she can jump into many situations in which a euphonium part is not included but in which a horn or some other instrument is missing, can read solo music for voice or any other instrument, etc. etc. One can get old just waiting around for that occasional euphonium gig. Raymond Horton Composer, Arranger Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC VISIT US at rayhortonmusic.com On Sat, Oct 30, 2010 at 1:00 PM, John Howell john.how...@vt.edu wrote: At 11:29 PM -0500 10/29/10, Robert Patterson wrote: I don't personally know a single professional horn player who works from F-transposed parts. Yes, and that's what the folks on the jazz and commercial side need to understand. Part of an orchestral horn player's pre-professional education is working through the orchestral excerpts books and learning to play from original notation in any reasonable transposition at sight. The worst I ever ran into was in high school, when I was still a horn player, and was playing 4th in a university conducting class orchestra. One of the Brahms symphonies has horn in B, a tritone transposition!!! (And yes, it was REALLY for horn in B, or H, and not in Bb basso!) My problem is that in our small-town-with-a-large-university, when I recruit horn players for our chamber orchestra they are often band players, not orchestral players, and they have NOT learned to transpose from original parts, so I've had to learn where to obtain the transposed parts (and sometimes to transpose them myself for those players). But it's like the need to provide euphonium parts in band arrangements in both bass clef and transposed treble clef. You can argue all you want about why it shouldn't be necessary, but in practice it is, and we give the players what they want to see. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
{Spam} Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On 10/29/2010 3:06 PM, Chuck Israels wrote: Curious - why is the convention not to have key signatures in horn parts, when all other transposing instruments have them? What is the use of this convention? Historically, trumpets, horns and timpani didn't have key signatures. This is back before valves on the horns and trumpets. Their music was all written in the key of C and they were told which key their instruments needed to be in, and it all worked out just fine. The horns held out against the use of key signatures even when valves were added, but trumpets and other transposing instruments got them. I think it was because the horn players were the kings of the brass section in the orchestras before the advent of valves because they got the juicy melodic parts. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
It's not so much that they were leaving off a key signature as that the correct key signature was (usually) C. In the days before valved horns the horns were most often crooked in the key of the piece. Even when the correct key signature was not the same as the crook, the playing technique lent itself to a staff w/o a key sig. The 4 or 5 pitch classes most parts employed (i.e., C, G, E, D, F) would not have required any inflection, so a key signature would still have been superfluous. And if inflections were required, the technique of playing made more sense to write them as accidentals. In the 19th cent. when valves came into the picture, it became a common although by no means universal practice to continue to omit key signatures. As to why that happened I have no facts, only guesses. Probably just a continuation of the older look and feel, given that the two types of instruments overlapped for decades as valves gradually took hold. On Fri, Oct 29, 2010 at 2:06 PM, Chuck Israels cisra...@comcast.net wrote: Curious - why is the convention not to have key signatures in horn parts, when all other transposing instruments have them? What is the use of this convention? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On 29 Oct 2010 at 12:06, Chuck Israels wrote: Curious - why is the convention not to have key signatures in horn parts, when all other transposing instruments have them? What is the use of this convention? From the period before valved horns it made perfect sense to write the part in C for the key the horn was in. In the present instance, it's an 1843 score, but it's a Mozart mass from the 1770s, and it's designated horn in F so there is no logic at all to notating the part so that C sounds F and then having a key signature of one flat. With modern valved horns, not so much, but in 1843, valved horn was still not standardized, though not by any means rare at that point. Certainly plenty of pieces were published well past the 19th century that used the old-style notation. And I think the tradition with older music was to continue to use the old notation. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
At 12:06 PM -0700 10/29/10, Chuck Israels wrote: Curious - why is the convention not to have key signatures in horn parts, when all other transposing instruments have them? What is the use of this convention? The convention applies to both natural trumpet and natural horn parts, and the reason was that the instruments were crooked into the required keys and then the parts were written AS IF they were in the key of C, and read by the players as if they were in the key of C, but sounded in whatever key the instruments was crooked to, which for horns could be anything from the extremes of Bb basso to C alto. So while we SAY they are written without key signature, it's historically more accurate to say that they are written in the key of C. The opposite is true of concert pitch scores, which are not in C although some folks call them C scores, but rather are written without key signature. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
Thanks, John, Robert and David. That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Doesn't make sense to me, and if there is a defensible new convention that says treat all transposing instruments equally (with key signatures), I choose that option. Chuck Chuck Israels 1310 NW Naito Parkway #807 Portland, OR 97209-3162 phone: (503) 926-7952 cell phone: (360) 201-3434 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On 29 Oct 2010 at 16:53, Chuck Israels wrote: That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Er, I think you've misunderstood, because nobody said that. Doesn't make sense to me, and if there is a defensible new convention that says treat all transposing instruments equally (with key signatures), I choose that option. That's the modern practice. But the old practice lasted well into the 19th century, and perhaps trailed off into the 20th. And certainly, modern critical editions of music from the period of natural horns all preserve the original notation, as they should, in my opinion. But those aren't written for valved horns. I would be interested to know what the part sets that go with modern critical editions have in them, i.e., if they have both natural horn parts in C and parts notated with a key signature for horns in F. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
On Fri Oct 29, at FridayOct 29 8:22 PM, David W. Fenton wrote: Doesn't make sense to me, and if there is a defensible new convention that says treat all transposing instruments equally (with key signatures), I choose that option. That's the modern practice. But the old practice lasted well into the 19th century, and perhaps trailed off into the 20th. And certainly, modern critical editions of music from the period of natural horns all preserve the original notation, as they should, in my opinion. You are right, and most modern trumpet and horn players are perfectly at ease with key signatures. Yet, I often get horn parts back from orchestra rentals with all the accidentals from the key signature pencilled in, and in one case I got a complaint from the orchestra manager on behalf of the horn players about key signatures! Trumpet players don't seem to have a problem, perhaps because of all the modern repertoire trumpet players play, including jazz and commercial music. This orchestra where I got the complaints had a very warhorse-heavy season program with almost no 20th century repertoire ever. So it is possible for a horn player to go for most of their career hardly ever seeing a key signature! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
At 8:22 PM -0400 10/29/10, David W. Fenton wrote: On 29 Oct 2010 at 16:53, Chuck Israels wrote: That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Conventions and traditions don't have to be logical, and often are not. And you might not like them, but that won't change them. I would be interested to know what the part sets that go with modern critical editions have in them, i.e., if they have both natural horn parts in C and parts notated with a key signature for horns in F. As you know, most modern part sets are reprints of public domain sets, so those normally have only the original parts. But Luck's, Kalmus, and perhaps others have made a point of preparing and publishing sets that include transposed parts for modern standard instruments, including clarinets in Bb, trumpets in Bb, and horns in F, and quite often trombone parts in bass clef as well. Highly experienced orchestral players often prefer to read from the original parts, feeling (as do many early music players) that they provide information that's lost in a modern edition. Critical editions are a different animal, and I'm not sure how those sets are handled. Since they are also almost always much more expensive than the reprints (especially the Bärenreiter editions), I usually see the reprint parts. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: {Spam} Re: [Finale] {Spam} OT: Historical Horn Notation Question
Speaking for myself, I pencil in most accidentals from key signatures. I primarily encounter key signatures in pops arrangements where rehearsal time is extremely tight. Better safe than sorry. But that doesn't mean we complain about it either. I can't speak about critical editions of classical pieces, because I've only seen original notation in those editions. (Frankly, it surprises me to learn an F-transposed part might be available from, e.g., Bärenreiter.) For editions like Kalmus, the F-transposed parts usually have key signatures. I don't personally know a single professional horn player who works from F-transposed parts. On Fri, Oct 29, 2010 at 7:57 PM, John Howell john.how...@vt.edu wrote: At 8:22 PM -0400 10/29/10, David W. Fenton wrote: On 29 Oct 2010 at 16:53, Chuck Israels wrote: That is the explanation I expected, but it's hard for me to swallow the reasoning that this tradition should hold for modern valved horns and not for trumpets - more or less modern valved bugles. Conventions and traditions don't have to be logical, and often are not. And you might not like them, but that won't change them. I would be interested to know what the part sets that go with modern critical editions have in them, i.e., if they have both natural horn parts in C and parts notated with a key signature for horns in F. As you know, most modern part sets are reprints of public domain sets, so those normally have only the original parts. But Luck's, Kalmus, and perhaps others have made a point of preparing and publishing sets that include transposed parts for modern standard instruments, including clarinets in Bb, trumpets in Bb, and horns in F, and quite often trombone parts in bass clef as well. Highly experienced orchestral players often prefer to read from the original parts, feeling (as do many early music players) that they provide information that's lost in a modern edition. Critical editions are a different animal, and I'm not sure how those sets are handled. Since they are also almost always much more expensive than the reprints (especially the Bärenreiter editions), I usually see the reprint parts. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
