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.
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