Or better, in concert, sounding or transposing pitch. In my experience, this is not true/practical because none I've seen comment on whether the score is in concert or transposing pitch. Which of the three (not including 8va clefs and 8va lines) would you consider more "standard"? Would you put a note in so as not to make assumptions? According to logic, concert and sounding pitch is the same thing, but in practice, it's not.Īll transposing instruments charts I've seen put pure octave displacement and addition of accidentals or anything else that isn't a pure octave in the same category. The trouble with these is, how do you handle clef changes when changing between modes automatically, this would depend on the instrument and your preference which would need to be the configurable part." "I think really an 'improved' concert pitch mode should have at least 3 'configurable' modes: sounding (everything written as sounds), concert (everything written in C, but octave transposing instruments transpose), and transposing (everything appears as it would be written for the player, i.e. Then, if I use 8va lines, it gets more confusing, because you have to do a double transposition, if you're keen on not adding extra ledger lines. If I want the celeste to be within the normal lines, I'd prefer to write, say, a G4 as "sounding" pitch in a concert score, rather than go into the bass clef (or add an 8va line) to keep the octave displacement principle. I understand the octave clefs are quite outdated but how would you use them? Only in concert pitch? Only in transposing? Both? "It depends on the kind of score I think, I think most 'study scores' tend to be in concert pitch ( whether it's sounding pitch or octave transposed can be a confusing mess)"Īnd then, there's stuff like "octave clefs" and "8va lines" that can make this even more confusing.
This, pretty much, follows my train of thought: So, it seems a split between concert and sounding pitch is in order here. So, if I want the playback to be correct I have to notate in sounding pitch (which, in theory, it could be said, is the same as concert pitch).Įdit: Sorry, it seems I was mistaken in the statement in the above paragraph, but I'm still curious. If, again, say, I copy a flute part to a piccolo part, then it gets copied/written one octave below but it doesn't sound one octave above. (No change in accidentals etc, which you could say could be classified as a "pure" transposing instrument/procedure) So, it seems that Sibelius treats the displacement as "inherent" to the instruments. If I toggle the "Transposing Score" button, for example, the horns and clarinets get transposed but the octave displacing instruments are not altered. Do you expect them to play 1 octave below written? What do you do with octave displacing instruments? Do you write them in *sounding* pitch (concert? see below) or do you keep the octave displacement (written/transposing?)? For example, if you have a celeste and you want a sounding C5, do you notate as C4 (octave below) or C5? Or the basses. Let's say you create a concert pitch score in Sibelius. Ok, so I've been trying to wrap my head around this but I'm still confused.
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