At 5:22 PM -1000 9/14/11, Bruce Kau wrote: > >I think as a composer, you need to consider how >your piece will be performed, and make it easier for the performer to >understand, whether or not they are reading for sight-singing or not. >The less time spent explaining everything, the better for the director.
While I agree with everything Bruce (and most others) said, it's only fair to point out that the original post was a complaint that the tenor G-clef is difficult for the ACCOMPANIST to read, not the singers. My answer to that is that it's a skill an accompanist simply has to master. What actually needs to be played in performance is always reduced to a 2-staff piano (or organ) score, so that should be no problem. But reading the voice parts in rehearsal is simply a part of the skills needed by an effective accompanist. The field of "collaborative pianist," which includes accompanying and much more, is expanding and there are now schools that offer Masters and Doctorates in it, but it does take an expanded menu of skills in order to be good at it. So dig in and develop those skills. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music School of Performing Arts & Cinema College of Liberal Arts & Human Sciences 290 College Ave., Blacksburg, Virginia 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html "Machen Sie es, wie Sie wollen, machen Sie es nur schön." (Do it as you like, just make it beautiful!) --Johannes Brahms _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
