I’m sorry to be posting this, because I know there’s a thread somewhere that talks about it. However, I can’t find it, so if someone can point me to it, I’d appreciate it. I’ve checked both here and on the Facebook page.
I’m doing a transcription for wind band of some Bizet Carmen excerpts, and the key choices are all in 6 or 7 sharps/flats. The sharp keys work best of some instruments and the flat keys work best for others, but I can’t find a way to switch them away from the Dorico defaults. In particular, in concert E major, the Bb trumpet parts would be easier to read in (transposed) Gb rather than F#, but Dorico transposes it to F#.
Is there any way to change it manually without changing all the other parts? Or can you point me to the thread that discusses this?
Thanks, as always.
I think the only real “solution” is to have two separate players - one that shows in the score, and another that shows in the parts. This is obviously less than ideal, as the relationship between score and part will be broken (if you need to make changes, you’ll need to remember to make them twice).
OK, Leo, I’ve checked out the other thread, plus I’ve looked at your suggestion, and changing the key for a given staff using alt-enter (I didn’t know about that one! )and then changing all the pitches enharmonically works just fine. Which leaves me wondering, why do you recommend one part that shows in the score and the other that shows up only in the parts?
Is it because in the key of E, you wouldn’t expect to see the Bb instruments showing a flat key sig? Because if that’s all it is, I don’t see that as a problem. In the band world, I often see the Eb instruments in flats (alto and bari saxes being the most common examples) when the concert key is in a lot of sharps, so I don’t object (wearing my conductor hat) to seeing the same for the Bb instruments.
Am I missing something?
Lew, it’s probably more of an issue with a C score, where it might look weird to have half the instruments in E and the other half in F flat.
Ah, I see. Yeah, that would probably look pretty strange. However, I don’t think I’ve ever published a C score in 50 years of writing for band, orchestra, and big band, so that’s a non-issue. 