Regular and doubling instrument information

[OCTO]

If a part has to be played by one player, and if there are two instruments: Flute / Piccolo, is it agreeable that flute is the Main instrument and piccolo is the "secondary"? So my question is: when music starts for the first time must it stay what instrument begins it with?

If the regular flute starts, should it stay anyway "Flute"?

[OCTO]

Yes, Gould says that at p.559. I guessed so as well.

[Fred G. Unn]

Yes, but Gould's underlining looks horribly dated to me, as underlining is a held-over typewriter convention to indicate stress, and now underlining typically indicates a hyperlink. Her suggestion to use caps or boxed instrument changes is good though. In her example, I disagree with her decision to change to key at the "to" indication. In my experience it's much better to change the key at the actual entrance of the instrument, as it's one more reminder to the performer that something is different and they should be playing a different instrument. The "to" instruction can just be in the normal text font IMO but I guess that doesn't really matter.

When designating the instrument name in the upper left corner, I always put the instruments in order of appearance, so Oboe/Cor Anglais in Gould's case. Alternatively if it's only one movement, or if there are multiple players on the primary instrument you can use something like:

OBOE 3
(doubling Cor Anglais)

For Reed doubles in Broadway or Jazz styles, I typically indicate the book and then the doubles in that piece, again in order of appearance like:

REED 1
Flute
Alto Sax.
Clarinet

Also, at the top of page 2 and subsequent pages, the instrument listed should be the instrument the performer is using in the first measure of that page. That way if they are asked to start at a particular measure in rehearsal they can always look on that page for what instrument they are playing, rather than flip back through previous pages to figure it out. Having "Reed 1" at the top of page 2 is helpful to the librarian, but not helpful to the performer, while something like "Reed 1 (Clarinet)" is.

[OCTO]

Fred, very useful information, thank you.

In her example, I disagree with her decision to change to key at the "to" indication. In my experience it's much better to change the key at the actual entrance of the instrument, as it's one more reminder to the performer that something is different and they should be playing a different instrument.

I have found that strange as well. I followed her suggestion, but now I am doubting...

When designating the instrument name in the upper left corner, I always put the instruments in order of appearance, so Oboe/Cor Anglais in Gould's case. Alternatively if it's only one movement, or if there are multiple players on the primary instrument you can use something like:

OBOE 3
(doubling Cor Anglais)

Here I face problems. I have 3 flute players.
- Flute / doubling Alto Flute
- Flute / doubling Alto flute
- Piccolo / doubling Alto flute

How to numerate/name each part? The third player is not Piccolo 3. There are no 3 piccolos. What is than 3rd player doubling Alto Flute 3?

Another are Trumpets:
- Piccolo Bb / doubling Trumpet C
- Piccolo Bb / doubling Trumpet C
- Trumpet C
- Trumpet C

Same here?

[Fred G. Unn]

The Flutes seem pretty straightforward. I would just think of it by chair and go with:
Flute 1 / doubling Alto Flute
Flute 2 / doubling Alto Flute
Piccolo / doubling Alto Flute

The trumpet situation is not really that different:
Piccolo Trumpet 1 in Bb / doubling Trumpet in C
Piccolo Trumpet 2 in Bb / doubling Trumpet in C
Trumpet 1 in C
Trumpet 2 in C

[OCTO]

I would just think of it by chair and go with:

Thank you.

Now concerns about the score.
What should stay as abbreviated names in the full score when having at the same time:
Piccolo Trumpet 1 in Bb / doubling Trumpet in C (when it doubles)
and
Trumpet 1 in C
?

As you understand, the conductor stops orchestra and says "Trumpet 1, could you play softer?"
But which one?

[David Ward]

I might designate the two permanent trumpets in C as 3 and 4 and the two who double on piccolo trumpets as 1 and 2. Would that make sense in your score?

Conversely, the reverse pairing of the numbers if that would make more sense, but certainly numbers 1, 2, 3 and 4 for the four trumpets in C.

[Fred G. Unn]

David's suggestion is a good one. "1234" makes sense for the score, it would then be on the copyist to make sure all the parts work out by book. I suppose there is also the matter of the conductor knowing which chair is playing which part if "Trumpet 1 in C" suddenly is playing "Trumpet 3." If the doubling is not very extensive, just a few measures or a couple of score pages, you could also leave the margin names alone and simply put "(C Tpt.)" in the first measure of that staff on each score page. That is obviously not as good of a solution if it continues more than a couple of pages.

Are you the conductor? If not, do you know who will be conducting? You could always ask how they would prefer to see it labelled too.

[OCTO]

I did so, both in the score and in parts:
Trumpet Piccolo Bb / Trumpet in C (1)
Trumpet Piccolo Bb / Trumpet in C (2)
Trumpet in C (3)
Trumpet in C (4)

Does it make sense?

I am not conducting, but I would have it clear for everyone who faces with the score in the future.

[Fred G. Unn]

Does it make sense?

Sure, that should be clear.