The choice has been made - right or wrong, bad or good, it's (8ba) treble
clef for tenors when on a separate stave, bass clef when sharing the staff
with basses, even in the same work. Tenors learn to bounce back and forth.
pianists adjust also.
I do recall a small publishing company (name forgo
I would agree. As a tenor, the treble cleff has less ledger lines, and
is generally easier to sight read, although I don't really think that it
makes a huge difference for me: I tend to sight sing by intervals, not
by absolute pitch. Where the note "falls in your throat" sometimes
throws me off
Being a tenor, and singing in a wide variety groups, etc., over the years,
this is what I've found with modern printing / editing practices. When a
four part piece is written on four separate staves (S-A-T-B), the "treble 8"
clef is used for the tenor. If the piece is written on two staves (S
On 14 Sep 2011 at 12:18, Ryan wrote:
> I think part of the issue is that treble clef is used with the
> properties of the treble8. There's no distinction made between the two
> and the tenor voice is essentially treated as a transposing instrument
> (sounding an octave lower). That practice is use
Steve Larsen wrote:
>I'm not aware of any time or place that notated the tenor part in bass clef
>when using a separate staff.
Agreed.
I've seen a ton of opera and choral scores from 17th century to 20th, and I've
never seen this. Choral tenors are combined with the basses in a bass clef when
Horn in G in concert pitch: Put in Baritone clef, sounds an octave higher)
(To play Horn in G on Horn in F: Put in Alto clef, play octave higher.
Though for me, it's easier to just transpose up a step.)
On Wed, Sep 14, 2011 at 12:48 PM, Steve Larsen wrote:
> I'm not a choirmaster, but an opera an
I think part of the issue is that treble clef is used with the
properties of the treble8. There's no distinction made between the two
and the tenor voice is essentially treated as a transposing instrument
(sounding an octave lower). That practice is used numerous times for
solo tenor voices in art
I'm not a choirmaster, but an opera and orchestra conductor. There's a
simple and rational explanation for the tenors being assigned to treble clef
(with or without the 8 attached at the bottom).
The question: WHY is this treble "8" clef used in printed music today when
it used to be printed in ba
Patrick:
1. You are absolutely right.
2. The battle was lost, decades ago, unfortunately, although the solution
was never bass clef for separate tenor lines, it was tenor clef. Tenor clef
fought a good fight but died in the early 20th century.
Learn to deal with it, as with all arbitrary notati
On 14 Sep 2011 at 9:40, Patrick Sheehan wrote:
> WHY is this treble "8" clef used in
> printed music today when it used to be printed in bass clef most of
> the time.
Your secondary premise is COMPLETELY FALSE. That is, printing tenor
vocal parts in bass clef is a minority practice.
The fact
Thank you, it worked!
Giovanni Andreani
www.giovanniandreani.eu
>I think Modify/Copy Layout will do this.
>
>Chuck
>
>Sent from my iPhone
>
>On Sep 8, 2011, at 11:00 PM, Giovanni Andreani
> wrote:
>
>> I tried to look trough all the TGTools features but can't find the one
>you mentio
I'm going to have to say as an accompanist for choirs for most of the past
30 years that the treble clef (with or without the 8) is more common. I'm
assuming each voice is written in a different clef. For vocal parts where
the Soprano/Alto is written on one clef and the Tenor/Bass on another, then
My 2 cents: I saw tenor parts in bass clef in two staff scores (SA
together-TB together) only,
while all 4 staff scores I could manage and sing got the treble(8) clef.
I think that the main reason
for using treble clef is an easier readability of the score, especially
when tenors have to reach h
Yes. Also because solo music for tenor voice is frequently written in Treble
8vb instead of bass clef.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 14 Sep 2011, at 10:53 AM, Chuck Israels wrote:
> Is it because of ledger lines in bass clef running into the lyrics on the
> a
Patrick:
I am not a choirmaster, but I am a composer and a singer who
occasionally performs tenor parts. The reason that I can think that it
makes sense relates more to classical choral tenor (ie: Bach, Mozart,
etc) and to operatic tenor parts. Those parts tend to lie more above
Middle C (and
I think it is useful and prefer it to the other options.
It gives the tenors a useful sense of where notes lie in their range.
If I notebash for tenors I play (lightly) the octave above as well as the
actual pitch, because most amateurs and some professionals here the actual
pitch as low.
Steve
Is it because of ledger lines in bass clef running into the lyrics on the alto
parts? Tenors live above middle C a lot of the time.
Chuck
On Sep 14, 2011, at 7:40 AM, Patrick Sheehan wrote:
> To All Choirmasters out there:
>
>
>
> Part of my work for the past 10+ years has been accompanyin
Since I am used to reading trombone parts with ledger lines, and since I
studied 4 part harmony using two voices in each clef, I prefer to see parts for
tenor voice written in bass clef too. It does make more sense to my eye, I
don't know what the historical precedent for the practice of using
Curious. I sang a church choir for several years (back in the 80s) and I
never saw anything but tenor-treble unless the tenor and bass part were
combined on a staff. Of course if J. S. Bach could contribute to this list,
he would probably lament the loss of the tenor clef, which is so suited to
the
To All Choirmasters out there:
Part of my work for the past 10+ years has been accompanying for high school
choirs, where at times we will perform a mix classic and new serious
literature as well as some of the popular alternative choices that are in
the catalogs today.
What bothers me in r
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