Am 15.05.2014 18:53, schrieb Brian Barker:
At 06:30 15/05/2014 +1000, Nick Payne wrote:
I would say, based on my fairly extensive collection of guitar
scores, collected over about 40 years, that there are probably more
commercially engraved editions that omit the "8" than those that show
it.
This is surely no different from the practice with tenor staves in
SATB scores, where the "8" under the tenor's treble clef is indeed
more often omitted than included. But in vocal music with more than
four parts, and especially where the number of staves shown can vary
from system to system, those little 8s are a significant help to the
eye - apart from being technically required.
Elaine Gould describes these 8s as "optional", but adds (in the
context of a full score) "the modified clef makes it easier to
identify the position of instruments with such transpositions in a
score".
Brian Barker
At first I was also inclined towards saying that it’s correct to add the
8 and it doesn’t hurt anyone, so why not just leave it where Lily puts
it by default.
Then I thought of a counter-example: some orchestra instruments (most
notably double basses, but also contrabassoons and maybe others) to
sound an octave lower than written, and the very best of hand-engraved
scores all don’t have a clef modifier (i.e. an "8" below – or above –
the clef). The (hand-engraved and overwhelmingly well done) UE score of
Mahler’s 7th symphony, which also scores a guitar in its fourth
movement, has no clef modifier for the guitar also, but uses an
explanatory text below the instrument name, which states that the guitar
shall sound an octave lower than written.
I say this because this kind of scores for me represent the very summit
of engraving art and should IMHO serve as a reference before anything
else. That notwithstanding one may of course reconsider the case, also
because it really isn’t more than a nitpick, to be honest.
All the best,
Simon Albrecht
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