This will show my very limited knowledge on music theory.
Surely if you transpose that piano music you will end up playing the same sounding notes but if you play the music as written you will end up playing in harmony with the piano, I think
I now wait to be shot down or enlightened.
DaveW - totally correct, although '
Harmony' may not best describe the result - you'd be two semitones off on tenor (e.g. Bb to C) and three semitones (e.g. Eb to C) on alto - and you'd be rigidly playing in parallel - in effect a different key, not harmony in the same key... '
Musical Anarchy' is probably a better description.
For a variety of reasons some choose to play C instruments when they don't specifically need (or feel the mood) to be on Bb/Eb instruments, or just want to be 'different'. It can be convenient at times, but I don't see the world of saxophones ever really embracing the 'C' concept, we'll just move in a parallel universe. There are C clarinets and C trumpets around as well, and they also seem to have a modest niche market, never having sold in great numbers either. There are lots of other factors, such as a slightly different sound, mouthpiece suitability etc. etc. For example I love C clarinet because the sound can be livelier (and more penetrating...), but it can lose a bit of body compared to it's normal (normal ?) Bb cousin.
When I used to do a bit of teaching/mentoring, it was confusing (for students) when I explained to young Bb clarinet and Eb alto players that they couldn't play together off the same music, or indeed read what their brother/sister was playing on (C) piano without getting into transposition (or playing 'by ear') at a young age - or spending dosh buying readily transposed music. Incidentally, both transposing and playing-by-ear are very useful skills to learn (essential for a sax player, imho), but can be a bit intimidating/off-putting for all but the keenest students...
Which is why/where C saxophones sold in great numbers, in the 20's... Sorry, I'll step down from my soap box and play a few hours of Bb tenor as a penance ;} heehee...
Ian - it somehow makes sense. I still like to know that when I put all three LH fingers down, I'm playing G, whatever it comes out as - except of course for the clarinet not overblowing at the octave. I can't handle the thought that I'd have to learn that as F fingering on tenor/sop, and Bb fingering on alto etc., and G fingering on flute and my C's - AAaaarghhh! I'd rather mentally transpose the notes than the fingers....