Any of the 3 clefs you choose will be no problem for a professional
tenor player.
If it were me, I would put the tenor on tenor clef (alto on alto, and
bass on bass). I've done this myself in a recent orch. piece. (The A/T
parts often appeared in the score on one staff in alto clef.) The only
reason to use bass clef in a 19th cent. tenor trombone part is if the
part is extremely low on the tenor clef.
I just checked a number of scores. My Dover Schumann Symphonies show
Sym. 1/2 trombones on 2 staves. A/T in alto clef, and B in bass clef.
Schubert Unfinished is the same. Schubert C Major shows A/T in tenor
clef. In all cases, I believe the parts are extracted onto the clefs
that bear their names. But you could easily verify this yourself over at
the Fleischer Collection or elsewhere.
Where are the worms?
Andrew Stiller wrote:
On Jun 17, 2006, at 1:38 PM, Raymond Horton wrote:
_-=-__-=-__-=-__-=-__-=-__-=-_ (Sound of a worm can being opened)
OK, I'll bite. 19th-c. orchl. piece. Only the score survives, in
copyist's hand. Trombones (alto, tenor, bass) on two staves: A and T on
one, in the alto clef, and bass on the other, in bass clef. When I
extract the parts, should the tenor trombone part be:
1) in the alto clef, because that's what it is in the score.
2) in the tenor clef, because that's the norm for 19th-c. tenor
trombone parts.
3) in bass clef, because that's what's usual today.
NOTE: I am trying to be "authentic" here, so, e.g., the clarinets are
getting parts for cl. in C, as per the score.
OTHER NOTE: The composer himself, in all his surviving autographs of
other works, *always* scores all three trombones (always three, never
more or fewer) on a single staff, in the bass clef.
Opinions?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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Robert Patterson
http://RobertGPatterson.com
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