Dave Lampson ([log in to unmask]) wrote: >... In the past I have transposed music for various instruments (ex., >arranging piano scores for instrumental ensembles), and I'm aware of >the mechanics inviolved. Without actually answering your question, I can tell you that some composers (Schoenberg being a prime example) decided to do away with transposing instruments, and write all the wind, brass parts at pitch. Apparently orchestral musicians simply hated it. I recall, belatedly, that at least part of the reason for transposing instruments is because it makes it easier to switch between say a Bb and an A, or D or Eb clarinet. The note which is scored as C, for instance, sounds as Bb on the Bb clarinet (I think this is the right way roung), as D on the D clarinet, etc, but is fingered *the same way* on each instrument. I gather from the Oxford Dictionary of Music that many clarinetists today use the Bb for both Bb and A parts, transposing mentally. I trust they wouldn't try and play Eb parts this way, as the different instruments have different charecters and a fine orchestrator (Mahler for instance, who was very fond of the Eb clarinet) will exploit the fact. Deryk Barker [log in to unmask]