[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: Why the part-combining in American hymnals? (WAS: Beaming, partcombi
From: |
J Martin Rushton |
Subject: |
Re: Why the part-combining in American hymnals? (WAS: Beaming, partcombine and pickups) |
Date: |
Sat, 17 Sep 2016 16:24:27 +0100 |
User-agent: |
Mozilla/5.0 (X11; Linux x86_64; rv:45.0) Gecko/20100101 Thunderbird/45.2 |
On 17/09/16 00:05, Karlin High wrote:
> On 9/16/2016 5:26 PM, J Martin Rushton wrote:
>> 2) How does the "American" style indicate when the voices cross?
>
> In short, it follows the "English" style until the cross-condition ceases.
>
> Here's an example that came to hand:
> https://s3.amazonaws.com/wayne-hooper/quartet-arrangements/alltheway.pdf
> See the third staff, end of third measure?
>
> The notes for the voice that is normally on the bottom - SATB alto or
> TTBB second tenor, and bass - will get down-stems.
> Voices normally on the top - SATB soprano or TTBB first tenor, and SATB
> tenor or TTBB baritone - will get up-stems.
> --
> Karlin High
> Missouri, USA
>
Thanks Karlin, that makes things much clearer. In passing I also note
the use of the C-clef, but in an unusual position that makes it the same
as a conventional G-clef.
Regards,
Martin
signature.asc
Description: OpenPGP digital signature
Re: Why the part-combining in American hymnals? (WAS: Beaming, partcombine and pickups), David Wright, 2016/09/19