Writing Cues For Parts With Doubling Instrument

Taking into consideration that cues should be transposed to the instrument reading them,

in writing out a part which has a doubling instrument, should you switch the transposing

depending on which of the two instruments the cue is leading up to?

Yes.

No.

Maybe.

Answer not listed here.

I assume that a cue should switch transposition according to with of the two instruments it is leading to. That seems the most logical to me, but I just thought I would check to get some more opinions, to see if there is an established rule.

Cues are always in the transposition of the part they're contained in. So if the cue is for flute in a Clarinet part you have to transpose it up a major 2nd. If its a horn part in a trumpet part you have to transpose it down a Perfect fourth (Down a fifth then up a second). Etc.

Cues are always in the transposition of the part they're contained in. So if the cue is for flute in a Clarinet part you have to transpose it up a major 2nd. If its a horn part in a trumpet part you have to transpose it down a Perfect fourth (Down a fifth then up a second). Etc.

This is the rule for transposing cues where there is not a doubling instrument involved. Based on this rule, it is logical to think that each cue would be transposed according to which instrument the cue was leading to, if the player were switching between two intruments.

In Gardener Read's book "A Manual of Modern Practice" on page 441 he states: "All cues - and these are a necessity when a player must switch intruments - should be notated in terms of the alternate instrument". The way he has stated this can be interpreted in two different ways, so it does not clarify the issue.