Well, yes, that corresponds to what I said: "if it's possible, make the clef 
change where a beam already breaks, between two beats or between two phrases": 
if the phrasing already dictates a beam break, by all means put the clef change 
there. But if no break in phrasing is desired, it's a mistake to break a beamed 
group with a clef change. 

Michael


On 5 Feb 2011, at 19:27, John Howell wrote:

> 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.
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