To All Choirmasters out there:
Part of my work for the past 10+ years has been accompanying for high school
choirs, where at times we will perform a mix classic and new serious
literature as well as some of the popular alternative choices that are in
the catalogs today.
What bothers me in
Curious. I sang a church choir for several years (back in the 80s) and I
never saw anything but tenor-treble unless the tenor and bass part were
combined on a staff. Of course if J. S. Bach could contribute to this list,
he would probably lament the loss of the tenor clef, which is so suited to
Since I am used to reading trombone parts with ledger lines, and since I
studied 4 part harmony using two voices in each clef, I prefer to see parts for
tenor voice written in bass clef too. It does make more sense to my eye, I
don't know what the historical precedent for the practice of
Is it because of ledger lines in bass clef running into the lyrics on the alto
parts? Tenors live above middle C a lot of the time.
Chuck
On Sep 14, 2011, at 7:40 AM, Patrick Sheehan wrote:
To All Choirmasters out there:
Part of my work for the past 10+ years has been accompanying
I think it is useful and prefer it to the other options.
It gives the tenors a useful sense of where notes lie in their range.
If I notebash for tenors I play (lightly) the octave above as well as the
actual pitch, because most amateurs and some professionals here the actual
pitch as low.
Steve
Patrick:
I am not a choirmaster, but I am a composer and a singer who
occasionally performs tenor parts. The reason that I can think that it
makes sense relates more to classical choral tenor (ie: Bach, Mozart,
etc) and to operatic tenor parts. Those parts tend to lie more above
Middle C (and
Yes. Also because solo music for tenor voice is frequently written in Treble
8vb instead of bass clef.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 14 Sep 2011, at 10:53 AM, Chuck Israels wrote:
Is it because of ledger lines in bass clef running into the lyrics on the
My 2 cents: I saw tenor parts in bass clef in two staff scores (SA
together-TB together) only,
while all 4 staff scores I could manage and sing got the treble(8) clef.
I think that the main reason
for using treble clef is an easier readability of the score, especially
when tenors have to reach
I'm going to have to say as an accompanist for choirs for most of the past
30 years that the treble clef (with or without the 8) is more common. I'm
assuming each voice is written in a different clef. For vocal parts where
the Soprano/Alto is written on one clef and the Tenor/Bass on another, then
Thank you, it worked!
Giovanni Andreani
www.giovanniandreani.eu
I think Modify/Copy Layout will do this.
Chuck
Sent from my iPhone
On Sep 8, 2011, at 11:00 PM, Giovanni Andreani
i...@giovanniandreani.eu wrote:
I tried to look trough all the TGTools features but can't find the
On 14 Sep 2011 at 9:40, Patrick Sheehan wrote:
WHY is this treble 8 clef used in
printed music today when it used to be printed in bass clef most of
the time.
Your secondary premise is COMPLETELY FALSE. That is, printing tenor
vocal parts in bass clef is a minority practice.
The fact is
Patrick:
1. You are absolutely right.
2. The battle was lost, decades ago, unfortunately, although the solution
was never bass clef for separate tenor lines, it was tenor clef. Tenor clef
fought a good fight but died in the early 20th century.
Learn to deal with it, as with all arbitrary
I'm not a choirmaster, but an opera and orchestra conductor. There's a
simple and rational explanation for the tenors being assigned to treble clef
(with or without the 8 attached at the bottom).
The question: WHY is this treble 8 clef used in printed music today when
it used to be printed in
I think part of the issue is that treble clef is used with the
properties of the treble8. There's no distinction made between the two
and the tenor voice is essentially treated as a transposing instrument
(sounding an octave lower). That practice is used numerous times for
solo tenor voices in art
Horn in G in concert pitch: Put in Baritone clef, sounds an octave higher)
(To play Horn in G on Horn in F: Put in Alto clef, play octave higher.
Though for me, it's easier to just transpose up a step.)
On Wed, Sep 14, 2011 at 12:48 PM, Steve Larsen st...@larsenbein.com wrote:
I'm not a
Steve Larsen wrote:
I'm not aware of any time or place that notated the tenor part in bass clef
when using a separate staff.
Agreed.
I've seen a ton of opera and choral scores from 17th century to 20th, and I've
never seen this. Choral tenors are combined with the basses in a bass clef when
On 14 Sep 2011 at 12:18, Ryan wrote:
I think part of the issue is that treble clef is used with the
properties of the treble8. There's no distinction made between the two
and the tenor voice is essentially treated as a transposing instrument
(sounding an octave lower). That practice is used
Being a tenor, and singing in a wide variety groups, etc., over the years,
this is what I've found with modern printing / editing practices. When a
four part piece is written on four separate staves (S-A-T-B), the treble 8
clef is used for the tenor. If the piece is written on two staves
I would agree. As a tenor, the treble cleff has less ledger lines, and
is generally easier to sight read, although I don't really think that it
makes a huge difference for me: I tend to sight sing by intervals, not
by absolute pitch. Where the note falls in your throat sometimes
throws me off,
The choice has been made - right or wrong, bad or good, it's (8ba) treble
clef for tenors when on a separate stave, bass clef when sharing the staff
with basses, even in the same work. Tenors learn to bounce back and forth.
pianists adjust also.
I do recall a small publishing company (name
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