On May 18, 2011, at 10:27 AM, John Howell wrote: > The only problem I can see is that in a huge majority of standard choral > repertoire, because of the imitation of lines between men's and women's > voices, they ARE used with octave displacements. In ALL of the polyphonic > choruses in "Messiah," for instance, and in the choruses that included > trumpets, and had to be in D major because Handel's trumpets were in D, both > tenors and sopranos have to handle high As. (
Yes, and the same for fugues. It's definitely convenient to write the voice parts so that the men and women mimic each other. But in your Messiah example, I think those high A's inspire more sense of "omigosh, that's a high note!" in the tenor section than in the soprano section. mdl _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
