[MEI-L] @trans.diat and @trans.semi

[Craig Sapp]

Hi Myke,

On Sat, Feb 11, 2012 at 11:10 AM, Michael Scott Cuthbert
<cuthbert at mit.edu>wrote:

> Even the B-flat clarinet often will choose to be an A# clarinet when the
> orchestra is in 5, 6, or 7 sharps.


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.


> 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.


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
    D E F G Ab
are represented in concert pitch as:
    C D Eb F Gb
and not as
    C D D# E# F#


-=+Craig
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