I agree that using the tenor clef to begin makes sense. However, I have found especially in sight-reading that cellists will miss an initial tenor clef. I would rather not invite disaster. Placing the altered clef after the meter and key signatures draws the player's attention to the change.
Also, in the particular instance I cited (tenor clef at the beginning of a contrabasso part) the contra does not read from the tenor clef nearly as often as the cello. The work in question is for chamber ensemble where the part is distinct. Also, it is a rather dissonant affair and the error in pitch could easily not be noticed! ;( I was extracting parts for an early 20th century work both out of print and out of copyright. The original edition of the score was engraved with first a bass clef and then the tenor. I wanted to stay as close to the original as possible. Guy Hayden, Minister of Music St. Stephen's Episcopal Church 372 Hiden Boulevard Newport News, Virginia 23606 ----- Original Message ----- From: "Harold Owen" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Friday, July 02, 2004 12:12 AM Subject: Re: [Finale] clef change at beginning of piece > Others have given you ways to accomplish this - BUT I think it's > unnecessary. If the left hand begins in treble clef, then use treble > as the beginning clef. Look a pieces by Ravel and Debussy - Ravel's > Sonatine comes to mind. Why bother beginning with a bass clef then > changing it immediately? Same thing goes for cello or gamba parts. If > the part begins in the upper register, why not just begin with tenor > clef? > > Hal > -- > Harold Owen _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
