Urs, 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 <u...@openlilylib.org> > To: lilypond-user@gnu.org > Subject: Re: How to handle changing transpositions > Message-ID: <540ee9e6.8020...@openlilylib.org> > 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
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