Even though I do understand the nature of the valveless horn, I do not see why one omits the key signature today. Just tradition doesn't really explain it. Could someone clarify this? Here's how I understand it so far:
On the valveless horn you change crooks to give the instrument a transposition that matches the music. That way, the music is always notated in C major (assuming major mode), just like how music sounding in B♭ major, played on a B♭ clarinet, is written as C major. Rather than calling this "no key signature", I'd say we have the key signature of C major. When we switch over to valves, we no longer match the transposition of the instrument to the key of the music, so it's only natural for other key signatures to appear. To continue the tradition of valveless horns, one would rather have to consider every valve press to be a change of crooks that alters the transposition of the instrument, and then write for this transposition until it's time for the next valve press. In summary, having no key signature (rather, the key signature of C major) appears natural to me when dealing with valveless horns (whose transposition match the key of the music) but not when it comes to horns with valves. I'm looking forward to getting this explained to me! Regards, Jonas _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
