FAE, (is it Rory?)
It's really not any different using a transposer than not using it.

Unless you are one of those who cannot get used to a sound emerging that doesn't match what you expect from a key struck. But the fact that I, and others on this post like cassp and montunoman and impuls are not bothered by this would seem to indicate that others could adapt to it if they gave it a chance.

If a tune is called in Bb say, i just set my transposer for 2 steps down, and play it as if the tune was in C. In spite of the fact that when I finger a G7, say, an F7 is coming out, everything in my brain adjusts to that, and I have identical facility (or lack of it lol) no matter how i set the transposer. So your question about the bridges in a different key--it's no different using the transposer than if you were not using it.

and there's this you wrote in your first reply: "You're going to do some things playing in C that wouldn't be done in Ab; and that bugs some people. If you were listening to 1:00 jump (in Eb for tenor), and suddenly a tenor sax started taking a solo; but it just wasn't right somehow. It sounded like he was playing in C. So the octave key and its associated timbre and color were happening on the wrong notes. You would have no tendency to thumb your nose at that? You wouldn't be bugged? I would.

I don't mean this a put-down--but this to me is just off-the-wall. I can understand what you mean about timbre of octave key etc on sax, but that's such a non-issue and certainly nothing to get bugged about. I certainly don't understand how you translate this idea to the keyboard. Do you mean if someone is reading a complicated phrase in Ab, fingering it as if it was in C will be either much harder or much easier and will negatively affect how you hear that phrase?
If so, this seems an extremely far-out criticism, splitting hairs to the max.

Or did I not understand correctly or did you not understand correctly?




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Miami Mo