Am 10.12.2014 20:58, schrieb Tim
Reeves:
Urs,
As a horn player, I can assure
you that
the conventional way of writing horn parts is to use the same
transposition
in bass clef as is used in treble clef: written a perfect fifth
higher
than it sounds. There is something called 'old notation', used
pre-20th
century, that had the bass clef parts written a fourth lower
than they
sound.
Thanks.
We have by now (fortunately) decided to do it that way.
Investigating the issue had led to find out about Jan-Peter's great
\autoTranspose function, though,
(https://github.com/openlilylib/openlilylib/tree/master/editorial-tools/auto-transpose)
which is extremely useful for the clarinets or other instruments
that explicitly change transposition along the way.
Best
Urs
Tim Reeves
> Message: 5
> Date: Tue, 09 Sep 2014 13:52:06 +0200
> From: Urs Liska <address@hidden>
> To: address@hidden
> Subject: Re: How to handle changing transpositions
> Message-ID: <address@hidden>
> Content-Type: text/plain; charset=windows-1252;
format=flowed
>
>
> Am 09.09.2014 13:46, schrieb Simon Albrecht:
> >
> > Am 09.09.2014 um 11:46 schrieb Urs Liska:
> >> Hi list,
> >>
> >> I have a problem understanding how to
efficiently deal with
horn
> >> parts that change their transposition with the
clef.
> >>
> >> That is: In the treble clef the part is notated
as \transpose
f, c
> >> while in the bass clef it is notated in concert
pitch.
> > This is extremely unusual, I should say. Normally
the bass clef
would
> > be notated as \transpose f c, that is, as if it were
octavating.
> > And isn?t it rather confusing if the transposition
changes with
the
> > clef? I assume that your master copy of the
?Trunkene Lied? uses
this
> > convention, but in your place I?d consider changing
it, to be
honest.
>
> Well, yes, that's the convention of the score. But I also
recalled
> having learned it that way. Once. Decades ago. I'll look
into
> documentation for current orchestration conventions.
>
> Thanks
> Urs
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