At 9:54 AM +0100 2/5/11, Florence + Michael wrote:
If it's possible, make the clef change where a beam already breaks, between two beats or between two phrases. If extremes of range force you to put a clef change in the middle of a beamed group, don't break the beam: it's important to show that the rhythmic grouping continues. If you break the beam, it could look as if a break in phrasing is desired.
Ah, but sometimes a break in phrasing IS desired. It's pretty common in baroque music for a given instrument to be outlining two separate, contrapuntal parts simultaneously, say a soprano and alto harmony or pedal point, or even a soprano and bass line with larger leaps. Many modern players don't play it that way, making it all linear, but it's there all the same. And it's the larger leaps that should trigger a clef change, if indeed one is actually needed. I am strongly opposed to gratuitous clef changes just to make the page look prettier! It impedes sightreading. If it's really needed, of course, that's different.
I wish we could see an example of the original passage. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[email protected]) http://www.music.vt.edu/faculty/howell/howell.html "We never play anything the same way once." Shelly Manne's definition of jazz musicians. _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
