I found one last thing…
Any ideas about fixing the courtesy key signatures?
If you want to eliminate them altogether, the best way is to add a Coda at the Key Change then hide it from the Properties Panel.
Hi Craig, thank you, one more time. Your tip indeed gets rid off announcing the new key signature. All I had to do was to follow your tip and adjust the Default Gap to 0.
Now I am all set to do it for the Alto Sax.
Thank you
guitarlosjazz, please don’t do this. As a trumpet player the first thing I’m going to do is ask you for the part early so I can transpose it to B. We trumpet players are used to playing in B (good golly how many country/pop songs are written in concert A?) so we can handle that. Writing in Cb only makes it harder to have your music played correctly. This is why pedagogy is so important. knowing the ‘practice’ of the instruments and their players allows you to write music easily managed by the musicians that you will need to perform your compositions correctly. Please, do not write in Cb for B flat instruments (this goes for Tenor sax, etc.). I say this because it’s important to not make things hard for your musicians on purpose. as a composer/arranger when I have the slightest doubt I call a musician that I know and ask if what I’m doing is common practice for them. That way they and you have a positive working relationship before you even get to the first rehearsal. Win win.
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Apologies in advance folks, and honestly, no offence intended; but it’s topics akin to “how to write a part, currently in A major, in Cb for a Bb trumpet” that make me feel really good that I chose to be a guitarist / bassist. After all, music is supposed to be fun, right?
PS: Back in the day, when backing cabaret acts, guest vocalists, etc., we were expected to transpose in real time using our brains. Indeed, sometimes, there were no “dots” at all; not to mention chords, arrangements, etc. Yet still, “the band played on”.
Dear Eedubya,
Thank you so much for sharing your thoughts and knowledge. This is a fantastic forum to learn how to use Dorico.
I have been studying trumpet for about nine years and flute forever. Because of that I am well aware about all the technical books that are written for those instruments, specifically the use of double, triple, sharps or flats.
However, in over forty years of been studying and playing this music, what some scholars, i.e. Dr. Yusef Lateef called “American Classical Music” mostly know as “Jazz Music”, I have never seeing the use of “double, triple, sharps or flats.” Rarely the use of E#, Fb, B#, Cb, (for chord symbols) in any of the literature produced by the geniuses of this music, i.e. Thad Jones, Count Basie, Duke Ellington, etc.
That is the reason behind it: Explaining to my students of improvisation the sound of the Ab harmonic minor, instead of the G# harmonic minor, to avoid the use of the commonly used in, the European “Classical Music” double and triple flats and sharps. I hope that this clarifies why I am seeking extreme resources, i.e. the use of Ab minor.
I am not interested in discussing the correct way, and the tradition of other older musics. I am interested in following the steps and the tradition of the style of music I play, teach, write for and adore. Anyone thinking otherwise I do have a profound respect for their knowledge and the way they intellectually envision the sounds of music and their relationship.
Arguing about how music should be written or understood is for me a dead end, much as two people with extreme opposite political sides discussing any subject.
Again, thank you for your comments.
All the best,
Carlos
Ah Carlos, sorry I misunderstood. Yes, seeing a C-flat in Ab harmonic minor does make sense. I thought you were just going to write in C-flat major. And while we musicians should be able to read in any key, we arranger/composers should also know how to communicate our ideas in a way that makes it as easy to play as possible.
I read back how to accomplish this and I have to report that Daniel’s solution is the best one, no effort, not having two instruments in the same layer, not having to copy from one instrument to another in galley view, etc.