C On The Treble Clef

Musical symbol used to signal the pitch of written notes

Not to be dislocated with cleft.

Diagram of treble, alto and bass clefs with identical-sounding musical notes aligned vertically

Middle C represented on (from left to right) treble, alto, tenor and bass clefs

Iii clefs aligned to middle C

A clef (from French: clef 'key') is a musical symbol used to indicate which notes are represented past the lines and spaces on a musical stave. Placing a clef on a stave assigns a particular pitch to one of the v lines, which defines the pitches on the remaining lines and spaces.

The iii clef symbols used in modernistic music notation are the G-clef, F-clef, and C-clef. Placing these clefs on a line fixes a reference note to that line—an F-clef fixes the F beneath middle C, a C-clef fixes middle C, and a G-clef fixes the G above middle C. In modernistic music notation, the Chiliad-clef is nigh ofttimes seen as treble clef (placing G₄ on the second line of the stave), and the F-clef every bit bass clef (placing F₃ on the fourth line). The C-clef is more often than not encountered every bit alto clef (placing middle C on the third line) or tenor clef (middle C on the fourth line). A clef may exist placed on a space instead of a line, but this is rare.

The employ of dissimilar clefs makes it possible to write music for all instruments and voices, regardless of differences in range. Using different clefs for different instruments and voices allows each office to be written comfortably on a stave with a minimum of ledger lines. To this end, the Yard-clef is used for loftier parts, the C-clef for centre parts, and the F-clef for low parts. Transposing instruments can be an exception to this—the same clef is by and large used for all instruments in a family, regardless of their sounding pitch. For example, even the depression saxophones read in treble clef.

A symmetry exists surrounding centre C regarding the F-, C- and Thou-clefs. C-clef defines middle C whereas treble clef and bass clef define the notation at the interval of a fifth in a higher place middle C and below middle C, respectively.

Two common mnemonics for learning the clef lines are:

• Thousandood Boys Do Fine Always^[one] (bass clef)
• Due eastvery Good Boy Does Fine (treble clef)

Placement on the stave [edit]

Theoretically, any clef may exist placed on whatsoever line. With five lines on the stave and 3 clefs, there are fifteen possibilities for clef placement. 6 of these are redundant because they result in an identical consignment of the notes to the lines (and spaces)—for instance, a Thou-clef on the 3rd line yields the aforementioned note placement equally a C-clef on the bottom line. Thus, there are nine possible singled-out clefs, all of which accept been used historically: the G-clef on the two bottom lines, the F-clef on the three superlative lines, and the C-clef on any line except the topmost. The C-clef on the topmost line is equivalent to the F-clef on the third line merely both options have been used.

Each of these clefs has a unlike proper name based on the tessitura for which it is best suited.

In modern music, only 4 clefs are used regularly: treble clef, bass clef, alto clef, and tenor clef. Of these, the treble and bass clefs are by far the most mutual. The tenor clef is used for the upper register of several instruments that unremarkably use bass clef (including cello, bassoon, and trombone), while the alto is mostly simply used past the viola. Instruments with ranges too low (such as the double bass) or as well high (such every bit the piccolo) to use a standard clef can be notated with an octave clef, which transposes the unabridged stave upward or down by one or more octaves.

Clef	Name	Note	Note Location
	K-clef	G4	on the line that passes through the coil of the clef
	C-clef	Cfour (Middle C)	on the line that passes through the centre of the clef
	F-clef	F3	on the line that passes between the two dots of the clef

Private clefs [edit]

This section shows a complete listing of the clefs, along with a list of instruments and vox parts notated with them. A dagger (†) after the proper name of a clef indicates that the clef is no longer in common use.

G-clefs [edit]

Treble clef [edit]

The just G-clef all the same in use is the treble clef, with the G-clef placed on the 2nd line. This is the nigh common clef in utilise and is by and large the kickoff clef learned by music students.^[2] For this reason, the terms "Grand-clef" and "treble clef" are oft seen as synonymous. The treble clef was historically used to mark a treble, or pre-pubescent, voice office.

Instruments that use the treble clef include violin, flute, oboe, cor anglais, all clarinets, all saxophones, horn, trumpet, cornet, vibraphone, xylophone, mandolin, recorder, bagpipe and guitar. Euphonium and baritone horn are sometimes treated as transposing instruments, using the treble clef and sounding a major 9th lower, and are sometimes treated every bit concert-pitch instruments, using bass clef. The treble clef is also the upper stave of the grand stave used for harp and keyboard instruments. Most high parts for bass-clef instruments (east.g. cello, double bass, bassoon, and trombone) are written in the tenor clef, but very loftier pitches may be notated in the treble clef. The viola also may use the treble clef for very loftier notes. The treble clef is used for the soprano, mezzo-soprano, alto, contralto and tenor voices. Tenor vox parts sound an octave lower and are often written using an octave clef (come across below) or a double-treble clef.

French violin clef^† [edit]

A G-clef placed on the first line is chosen the French clef, or French violin clef. This clef was used in the seventeenth and eighteenth centuries in French republic for violin music and flute music.^[three]

F-clefs [edit]

Baritone clef^† [edit]

When the F-clef is placed on the third line, information technology is called the baritone clef. Baritone clef was used for the left hand of keyboard music (particularly in French republic; come across Bauyn manuscript) and for baritone parts in vocal music. A C-clef on the 5th line creates a staff with identical notes to the baritone clef only this variant is rare. (come across beneath).

Bass clef [edit]

The only F-clef all the same in use is the bass clef, with the clef placed on the fourth line. Since information technology is the only F-clef unremarkably encountered, the terms "F-clef" and "bass clef" are often regarded as synonymous.

Bass clef is used for the cello, double bass and bass guitar, bassoon and contrabassoon, bass recorder, trombone, tuba, and timpani. It is used for baritone horn or euphonium when their parts are written at concert pitch, and sometimes for the lowest notes of the horn. Baritone and bass voices also use bass clef, and the tenor voice is notated in bass clef if the tenor and bass are written on the aforementioned stave. Bass clef is the bottom clef in the grand stave for harp and keyboard instruments. Double bass, bass guitar, and contrabassoon sound an octave lower than the written pitch; some scores show an "8" beneath the clef for these instruments to differentiate from instruments that audio at the actual written pitch. (encounter "Octave clefs" below).

Sub-bass clef^† [edit]

When the F-clef is placed on the 5th line, information technology is called the sub-bass clef. It was used past Johannes Ockeghem and Heinrich Schütz to write depression bass parts, past Monsieur de Sainte-Colombe for low notes on the bass viol, and by J. S. Bach in his Musical Offering.

C-clefs [edit]

Alto clef [edit]

A C-clef on the tertiary line of the stave is called the alto or viola clef. It is currently used for viola, viola d'amore, alto trombone, viola da gamba, and mandola. It is besides associated with the countertenor voice and sometimes called the countertenor clef.^[4] A vestige of this survives in Sergei Prokofiev'south use of the clef for the cor anglais in his symphonies. Information technology occasionally appears in keyboard music (for example, in Brahms'due south Organ Chorales and John Cage's Dream for pianoforte).

Tenor clef [edit]

A C-clef on the fourth line of the stave is chosen tenor clef. It is used for the viola da gamba and for upper ranges of bass-clef instruments such as the bassoon, cello, euphonium, double bass, and tenor trombone. Treble clef may also be used for the upper extremes of these bass-clef instruments. Tenor violin parts were likewise written in this clef (come across east.thousand. Giovanni Battista Vitali'south Op. xi). It was used past the tenor part in vocal music only its use has been largely supplanted^{[ why? ]} either with an octave version of the treble clef or with bass clef when tenor and bass parts are written on a unmarried stave.

Mezzo-soprano clef^† [edit]

A C-clef on the second line of the stave is called the mezzo-soprano clef, rarely used in modern Western classical music. It was used in 17th century French orchestral music for the second viola or first tenor part ('taille') by such composers as Lully, and for mezzo-soprano voices in operatic roles, notably past Claudio Monteverdi.^[5] Mezzo-soprano clef was also used for certain flute parts during renaissance, specially when doubling song lines.^[six] In Azerbaijani music, the tar uses this clef.^{[ commendation needed ]}

Soprano clef^† [edit]

A C-clef on the get-go line of the stave is called the soprano clef. It was used for the right hand of keyboard music (specially in France – see Bauyn manuscript), in vocal music for sopranos, and sometimes in high viola da gamba^{[ clarification needed ]} parts forth with the alto clef.^{[ citation needed ]} It was used for the second violin part ('haute-contre') in 17th century French music.

The aforementioned line on the stave in different clefs means different pitches.
The line indicating C (going from the center of a clef) is marked in orangish.

1. soprano clef
2. mezzo-soprano clef
3. alto clef
4. tenor clef
5. baritone clef

Other clefs [edit]

Octave clefs [edit]

3 types of suboctave treble clef showing middle C

C major scale, "sopranino" clef. Play(help·info) (this is i octave higher than the treble clef without an eight)

Starting in the 18th century, music for some instruments (such as guitar) and for the tenor voice have used treble clef, although they audio an octave lower. To avoid ambiguity, modified clefs are sometimes used, peculiarly in choral writing. Using a C-clef on the third space places the notes identically, but this notation is much less mutual^{[seven] [8]} as it is easily confused with the alto and tenor clefs.

Such a modified treble clef is most oftentimes found in tenor parts in SATB settings, using a treble clef with the numeral 8 beneath it. This indicates that the pitches sound an octave lower. Equally the true tenor clef has fallen into disuse in vocal writings, this "octave-dropped" treble clef is frequently called the tenor clef. The same clef is sometimes used for the octave mandolin. This tin too be indicated with ii overlapping G-clefs.

Tenor banjo is commonly notated in treble clef. Still, notation varies between the written pitch sounding an octave lower (every bit in guitar music and called octave pitch in most tenor banjo methods) and music sounding at the written pitch (chosen actual pitch). An endeavour has been fabricated to utilize a treble clef with a diagonal line through the upper one-half of the clef to indicate octave pitch, but this is not ever used.

To indicate that notes sound an octave higher than written, a treble clef with an 8 positioned above the clef may be used for penny whistle, soprano and sopranino recorder, and other high woodwind parts. A treble clef with a 15 above (sounding two octaves to a higher place the standard treble clef) is used for the garklein (sopranissimo) recorder.

An F-clef can also exist notated with an octave marking. While the F-clef notated to audio an octave lower tin can be used for contrabass instruments such as the double bass and contrabassoon, and the F-clef notated to sound an octave higher can be used for the bass recorder, these uses are extremely rare. In Italian scores up to Gioachino Rossini's Overture to William Tell, the cor anglais was written in bass clef an octave lower than sounding.^[ix] The unmodified bass clef is so mutual that performers of instruments whose ranges prevarication below the stave simply learn to read ledger lines.

Octave-marked clefs are useful in music notation software to keep the score readable while having the notes play back at their correct pitch.

Neutral clef [edit]

The neutral or percussion clef is not a true clef similar the F, C, and 1000 clefs. Rather, it assigns different unpitched percussion instruments to the lines and spaces of the stave. With the exception of some common drum-kit and marching percussion layouts, the assignment of lines and spaces to instruments is not standardised, then a legend is required to evidence which musical instrument each line or infinite represents. Pitched percussion instruments do not utilize this clef — timpani are notated in bass clef and mallet percussion instruments are noted in treble clef or on a one thousand stave.

If the neutral clef is used for a single percussion musical instrument the stave may only have one line, although other configurations are used.

The neutral clef is sometimes used where not-percussion instruments play non-pitched extended techniques, such as striking the body of a string instrument, or having a song choir clap, stamp, or snap. However, it is more mutual to write the rhythms using × noteheads on the instrument'due south normal stave, with a comment to bespeak the appropriate rhythmic activeness.

Tablature [edit]

C major scale, guitar tablature and stave notation (suboctave is assumed). Play(help·info)

For guitars and other fretted instruments, information technology is possible to notate tablature in identify of ordinary notes. This TAB sign is not a clef — it does not point the placement of notes on a stave. The lines shown are not a music stave only rather correspond the strings of the instrument (six lines would be used for guitar, four lines for the bass guitar, etc.), with numbers on the lines showing which fret should be used.

History [edit]

Earlier the appearance of clefs, the reference line of a stave was only labeled with the name of the annotation it was intended to bear: F, C, or sometimes G. These were the near common 'clefs', or litterae clavis (key-letters), in Gregorian chant notation. Over fourth dimension the shapes of these letters became stylised, leading to their current versions.

Many other clefs were used, particularly in the early period of dirge annotation, keyed to many dissimilar notes, from the low Γ (gamma, the 1000 on the bottom line of the bass clef) to the G in a higher place middle C (written with a minor letter 1000). These included ii different lowercase b symbols for the note just below middle C: round for B ♭ , and square for B ♮ . In order of frequency of apply, these clefs were: F, c, f, C, D, a, thou, east, Γ, B, and the round and square b.^[x] In afterwards medieval music, the round b was often written in addition to another clef letter to indicate that B ♭ rather than B ♮ was to be used throughout a piece; this is the origin of the cardinal signature.

Early forms of the Chiliad clef—the third combines the Thou and D clefs vertically

In the polyphonic period up to 1600, unusual clefs were occasionally used for parts with extremely high or low tessituras. For very low bass parts, the Γ clef is found on the eye, fourth, or fifth lines of the stave (eastward.g., in Pierre de La Rue's Requiem and in a mid-16th-century dance book published by the Hessen brothers); for very high parts, the loftier-D clef (d), and the fifty-fifty higher ff clef (e.g., in the Mulliner Book) were used to represent the notes written on the quaternary and top lines of the treble clef, respectively.^[11]

The practice of using dissimilar shapes for the aforementioned clef persisted until very recent times. The F-clef was, until as tardily as the 1980s in some cases (such every bit hymnals), or in British and French publications, written like this:

In printed music from the 16th and 17th centuries, the C clef oftentimes assumed a ladder-like form, in which the two horizontal rungs surroundings the stave line indicated as C: ; this form survived in some printed editions (see this case, written in 4-part men's harmony and positioned to make information technology equivalent to an octave G clef) into the 20th century.

The C-clef was formerly written in a more angular way, sometimes still used, or, more oftentimes, every bit a simplified Yard-shape when writing the clef by manus:

In modern Gregorian dirge notation the C clef is written (on a four-line stave) in the form and the F clef as

The flourish at the summit of the G-clef probably derives from a cursive South for "sol", the name for "G" in solfege.^[12]

Vocal music can exist contracted into two staves, using the treble and bass clefs.

C clefs (along with K, F, Γ, D, and A clefs) were formerly used to notate vocal music. Nominally, the soprano voice parts were written in first- or second-line C clef (soprano clef or mezzo-soprano clef) or second-line G clef (treble clef), the alto or tenor voices in 3rd-line C clef (alto clef), the tenor vocalism in fourth-line C clef (tenor clef) and the bass voice in 3rd-, fourth- or 5th-line F clef (baritone, bass, or sub-bass clef).

Until the 19th century, the nearly common system for vocal music used the following clefs:

• Soprano = soprano clef (offset-line C clef)
• Alto = alto clef (third-line C clef)
• Tenor = tenor clef (4th-line C clef)
• Bass = bass clef (quaternary-line F clef)

In more mod publications, four-part music on parallel staves is normally written more than only as:

• Soprano = treble clef (2nd-line Yard clef)
• Alto = treble clef
• Tenor = treble clef with an eight below or a double treble clef. Many pieces, particularly those from earlier the 21st century, apply an unaltered treble clef, with the expectation the tenors volition even so sing an octave lower than notated.
• Bass = bass clef (fourth-line F clef)

This may be reduced to two staves, the soprano and alto sharing a stave with a treble clef, and the tenor and bass sharing a stave marked with the bass clef.

Farther uses [edit]

Clef combinations played a role in the modal organisation toward the end of the 16th century, and it has been suggested certain clef combinations in the polyphonic music of 16th-century vocal polyphony are reserved for accurate (odd-numbered) modes, and others for plagal (even-numbered) modes,^{[13] [14]} only the precise implications have been the subject of much scholarly debate.^{[15] [16] [17] [xviii]}

Reading music as if it were in a different clef from the one indicated can be an aid in transposing music at sight since information technology will move the pitches roughly in parallel to the written office. Key signatures and accidentals need to be deemed for when this is done.

Citations [edit]

1. ^ Every Skillful Boy Does Fine – What does EGBDF stand for?
2. ^ Greer, Amy (2003). "In Praise of Those Grass-Eating Cows". American Music Teacher. 53 (1): 22–25. JSTOR 43547681.
3. ^ "Dolmetsch Online – Music Theory Online – Other Clefs". www.dolmetsch.com . Retrieved 1 September 2016.
4. ^ Moore 1876, 176; Dolmetsch Organisation 2011.
5. ^ Curtis, Alan (1989-04-01). "La Poppea Impasticciata or, Who Wrote the Music to La Poppea Impasticciata (1643)?". Journal of the American Musicological Lodge. 42 (i): 23–54. doi:10.2307/831417. ISSN 0003-0139. JSTOR 831417.
6. ^ Thomas, Bernard (1975). "The Renaissance Flute". Early Music. three (ane): 2–x. doi:ten.1093/earlyj/3.i.2. JSTOR 3125300.
7. ^ There was a vogue in 20th-century Oliver Ditson Co. editions, for example Master Choruses selected by Smallman & Matthews (Boston 1933)
8. ^ This notation is besides used in the 1985 Hymns of the Church of Jesus Christ of Latter-day Saints for many of the men's arrangements, i.e. Hymns 323 and 325–337
9. ^ Del Mar 1981, 143.
10. ^ Smits van Wasberghe 1951, 33.
11. ^ Hiley 2001; P. and B. Hessen 1555.
12. ^ Kidson 1908, 443-44.
13. ^ Powers, Harold S. (1981). "Tonal Types and Modal Categories in Renaissance Polyphony". Journal of the American Musicological Society. 34 (three): 428–470. doi:10.1525/jams.1981.34.3.03a00030.
14. ^ Kurtzman, J. G. (1994). "Tones, Modes, Clefs, and Pitch in Roman Cyclic Magnificats of the 16th Century". Early Music. 22 (4): 641–664. doi:10.1093/earlyj/xxii.iv.641.
15. ^ Hermelink, Southward. (1956). "Zur Chiavettenfrage". Musikwissenschaftlicher Kongress. Vienna: 264–271.
16. ^ Smith, A. (1982). "Über modus und Transposition um 1600". Basler Jahrbuch für historische Musikpraxis: 9–43.
17. ^ Parrott, Andrew (1984). "Transposition in Monteverdi's Vespers of 1610: an "Aberration" Defended". Early Music. 7 (4): 490–516. doi:10.1093/earlyj/12.4.490.
18. ^ Wiering, F. (1992). "The Waning of the Modal Ages: Polyphonic Modality in Italy, 1542–1619". Ruggiero Giovannelli: Palestrina and Velletri: 389–419.

References [edit]

• Del Mar, Norman. 1981. Anatomy of the Orchestra. Berkeley: University of California Press. ISBN 0-520-04500-9 (textile); ISBN 0-520-05062-ii.
• Dolmetsch System. 2011. "Counter-tenor clef". In Music Lexicon Online Dolmetsch Online (Accessed 23 March 2012).
• Hessen, Paul, and Bartholomeus Hessen. 1555. Viel feiner lieblicher Stucklein, spanischer, welscher, englischer, frantzösischer Composition und Tentz, uber drey hundert, mit sechsen, fünffen, und vieren, auff alle Instrument ... zusamen bracht. Breslau: Crispin Scharffenberg.
• Hiley, David. 2001. "Clef (i)". The New Grove Dictionary of Music and Musicians, 2nd edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
• Kidson, Frank. 1908. "The Evolution of Clef Signatures." The Musical Times 49, no. 785 (1 July), pp. 443–444.
• Kidson, Frank. 1909. "The Evolution of Clef Signatures" (second commodity). In The Musical Times 50, no. 793 (1 March), pp. 159–160.
• Moore, John Weeks. 1876. A Lexicon of Musical Information: Containing also a Vocabulary of Musical Terms, and a List of Modernistic Musical Works Published in the United States From 1640 To 1875. Boston: Oliver Ditson.

Farther reading [edit]

• Dandelot, Georges. 1999. Manuel pratique pour l'étude des clefs, revised by Bruno Giner and Armelle Choquard. Paris: Max Eschig.
• Morris, R. O., and Howard Ferguson. 1931. Preparatory Exercises in Score-Reading. London: Oxford University Printing.
• Read, Gardner (1964). Music Notation: A Manual of Modern Practice. Boston: Alleyn and Salary. Second edition, Boston: Alleyn and Bacon, 1969, reprinted as A Crescendo Book, New York: Taplinger, 1979. ISBN 0-8008-5459-4 (cloth), ISBN 0-8008-5453-five (pbk).
• Smits van Waesberghe, Jos. 1951. "The Musical Note of Guido of Arezzo". Musica Disciplina 5:xv–53.

External links [edit]

• Media related to Clefs at Wikimedia Commons

C On The Treble Clef,

Source: https://en.wikipedia.org/wiki/Clef

Posted by: ingramshament.blogspot.com

Share this post