On Mon, 2017-02-13 at 22:58 +0100, Simon Albrecht wrote: > On 13.02.2017 17:43, Kieren MacMillan wrote: > > > > > > > > The piece I am setting can be sung by a baritone or by a mezzo- > > > soprano. > > > In the score, therefore, there are 2 vocal staves, one for each > > > of the > > > alternative voices. The staves contain identical music apart > > > from an > > > octave diffence in pitch and different clefs. > > Aside: Have you thought about just having one staff, and putting > > the clef modifier (i.e., subscript 8) in parentheses? > I agree. Baritones have no trouble whatsoever singing from treble > clef. > I’d not even bother to put the clef modifier there, because it’s > self-explanatory if you write ‘Mezzosoprano or baritone’. But that > may > be from my personal dislike of \clef "treble_8". Historically, when > people started notating tenors with treble clefs, it was transposing > notation, the whole ‘octavated clef’ idea being in this case a > misconception. (advanced piano notation being a different issue) > > Best, Simon
I am reluctant to remove the baritone line, written in bass clef, for 2 reasons: 1) the piece was originally written for baritone singer, and I would therefore not like anyone to get the impression that the male voice is merely an less desirable alternative to the female voice. 2) I may be mistaken, since I am not generally involved in performing vocal music, but I think it would be unusual for a baritone to be expected to read treble clef. I am sure that most can, but that is hardly the point: I used to be a flute-player, and I could easily have read my music in bass clef (performing the necessary 1- or 2-octave transpostion), but in 55 years I was never expected to. David _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user