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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>> <o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>> </span><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Craig Sapp<br><br></span><span style='color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><span style='color:#1F497D'>> </span>On Sat, Feb 11, 2012 at 11:10 AM, Michael Scott Cuthbert <<a href="mailto:cuthbert@mit.edu">cuthbert@mit.edu</a>> wrote:<span style='color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><span style='color:#1F497D'>> </span>Even the B-flat clarinet often will choose to be an A# clarinet when the orchestra is in 5, 6, or 7 sharps. <span style='color:#1F497D'><o:p></o:p></span></p><div><p class=MsoNormal><span style='color:#1F497D'>> </span>This wouldn't be a problem, since the transposition is related to how you want to see it on the page, not to the name of the instrument. B-flat transposition would be 1 diatonic 2 chromatic (C->B; c->b->b-flat), A-sharp transposition would be 2 diatonic 2 chromatic (C->B->A; c->b->a#). Similarly for D-flat/C# piccolo.<br><br><span style='color:#1F497D'><o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'>The issue is that you want to be able to change the transposition for different passages, and I don’t think that changing the Instrument tag is the best approach.<o:p></o:p></span></p><p class=MsoNormal><span style='font-family:"Calibri","sans-serif";color:#1F497D'><o:p> </o:p></span></p><p class=MsoNormal> <span style='color:#1F497D'><o:p></o:p></span></p></div><blockquote style='border:none;border-left:solid #CCCCCC 1.0pt;padding:0in 0in 0in 6.0pt;margin-left:4.8pt;margin-right:0in'><p class=MsoNormal style='margin-left:11.55pt'><span style='color:#1F497D'>> </span>And in pieces for band, learning ensembles, etc., individual notes will be written enharmonically. So that a concert-pitch passage, C, D, D#, E#, F# might be written as D, E, F, G, Ab so as to avoid needing using double sharps or augmented intervals. Notating the score in written pitch is the better way to avoid this problem. <span style='color:#1F497D'><o:p></o:p></span></p></blockquote><p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:#1F497D'>> </span><br>This is a good point, but can also be handled by a constant transposition system. The enharmonic spelling would be stored in the sounding-pitch spellings, rather than changed afterwards once the written notes are calculated. In other words the written pitches<br> D E F G Ab<br>are represented in concert pitch as:<br> C D Eb F Gb<br>and not as<br> C D D# E# F#<br><br><span style='font-family:"Calibri","sans-serif";color:#1F497D'>What you would like to have is the clarinet’s notes displaying as “C D D# E# F#” when the score is viewed in concert pitch (so it matches the rest of the ensemble) and “D E F G Ab” when viewed transposed; the alternate representation (“C D Eb F Gb”) represents a passage that doesn’t appear in either a concert-pitch score or on the performers’ parts. It may be too difficult to encode such things but they’re frequently done instinctively by skilled copyists.<o:p></o:p></span></p><p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:#1F497D'>Best, Myke<o:p></o:p></span></p><p class=MsoNormal style='margin-bottom:12.0pt'><br>-=+Craig<span style='color:#1F497D'><o:p></o:p></span></p><div><div><p class=MsoNormal style='margin-bottom:12.0pt'><span style='color:#1F497D'>> </span><o:p></o:p></p></div></div></div></body></html>