Transposing layout and setups


I think this feature would be of great help for pro users. I saw a thread about how it was not requested enough to be included so here I am.

I am writing for en ensemble with transposing instruments. The parts, the C score and the transposed score will all be used in a professional setting.

First request would be to be able to simply duplicate a layout. Say you made system breaks, alligned dynamics, made the staff smaller ect, it would be great to be able to simply and easily do a duplicate.

Next, the biggest problem I have is this. (Keep in mind that I write very chromatic music) Say in my score in C I write A# - B - C - C#, I then go to my duplicate of the score which is in transposed pitch. I go to the Bb clarinet and the notes appear as B# - C# - D - D#. Quite normal here but I prefer to write it as C - C# - D - D# in this particular scenario. So It will change of course the transposed score, The Bb clarinet part (Also transposed) AND the C score. Now the transposed score and part apprear correctly but the C score i written Bb - B - C - C#. In this case it would not (in my eyes) be written correctly.

Note that I see you can edit the part alone without affecting either the transposed score and the C score. But it is not useful very much as I would like all the scores and parts to be written correctly without compromise.

I don’t know if it’s clear enough but I think maybe adding a feature that if you manually change the pitch in the score or part, it will only affect the corresponding transposition. Either C score or transposed.

Thanks a lot :slight_smile:

Thanks for your suggestion, @paq_phil. Am I correct in assuming that you want to be able to make a change to the enharmonic spelling in transposed pitch, and that change in spelling would be applied to all layouts containing that instrument when they are in transposed pitch?

Hello Daniel :slight_smile:
No not exactly. I would like to make changes to the enharmonic spelling in the transposed score and have no change in the C score or vice versa.

What is happening right now is that if I change the enharmonic spelling in either the C score or the transposed score, one will affect the other.

Sometimes, it’s actually great. Say I wanna write F - F# - G - G# in the c score, in the Bb clarinet part (and the transposed score) it will probably write G - G# - A - A#. That’s great.


If I wanna write A - A# - B in the C score, the Bb clarinet part (and transposed score) might be written B - B# - C#.

Now if I go to the transposed score and change the B - B# - C# to B - C - C#, the A# in the C score will probably become Bb. Which is gonna be written A - Bb- B. I tend not to wanna write chromatic lines that way.

I know I can change the instrument part alone without changing the scores. But than the conducter score will not be written proprely.

Thanks for your follow up !

Changing the spelling of a note in a part layout should not cause the pitch to change in the full score layout, regardless of the transposition type you are using in either one. Do you have a minimal case that demonstrates this in action?

I think Phil’s concert and transposing scores are both Full Scores, and that is the root of his dilemma.

Right, I’d missed that. In that case it’s a bit of a tricky one. I’ll ponder this for the future.

It’s about the scores not the parts. The case I tried to enunciate in the last post is actually the exact case that causes me problem. The spelling is linked between scores. Like I said. Sometimes it’s great. Sometimes it’s not.