Alto Clef And Tenor Clef

When the C-clef is placed on the third line of the stave, it is called the alto clef. As with all C-clefs, this line indicates the position of middle C. This clef (sometimes called the viola clef) is currently used for the viola, the viola da gamba, the alto trombone, and the mandola. It is also associated with the countertenor voice and therefore called the counter-tenor (or countertenor) clef, and is used also for the alto voice and for instruments playing a middle part (such as oboes and recorders). A vestige of this survives in Sergei Prokofiev's use of the clef for the English horn, as in his symphonies. It occasionally turns up in keyboard music to the present day (Brahms's Organ chorales, John Cage's Dream for piano).

TENOR CLEF

When the C-clef is placed on the fourth line of the stave, it is called the tenor clef. This clef is used for the upper ranges of the bassoon, cello, euphonium, double bass, and trombone (all of which can be notated in bass clef as well, which is the current practice in most modern manuscripts, and when notating parts in the extreme upper range of these instruments, the treble clef can be used as well). The tenor violin parts were also written in this clef (see e.g. Giovanni Battista Vitali's Op. 11). Formerly, it was used by the tenor part in vocal music but its use has been largely supplanted either with an octave version of the treble clef when written alone or the bass clef when combined on one stave with the bass part. The double bass sounds an octave lower than the written pitch.

Bass Clef

Second Bass Clef

When the F-clef is placed on the fourth line, it is called the bass clef. This is the only F-clef used today, so that the terms "F-clef" and "bass clef" are often regarded as synonymous. This clef is used for the cello, euphonium, double bass, bass guitar, bassoon, contrabassoon, trombone, baritone, tuba, and timpani. It is also used for the lowest notes of the horn, and for the baritone and bass voices. Tenor voice is notated in bass clef when the tenor and bass are written on the same stave. Bass clef is the bottom clef in the grand stave for harp and keyboard instruments. The contrabassoon, double bass, and electric bass sound an octave lower than the written pitch; no notation is usually made of this fact, but some composers/publishers will place an "8" beneath the clef for these instruments on the conductor's full score to differentiate from instruments that naturally sound within the clef

Treble clef

First, we will learn about treble clef, the most common clef When the G-clef is placed on the second line of the stave, it is called the treble clef. This is the most common clef used today, and the only G-clef still in use. For this reason, the terms G-clef and treble clef are often seen as synonymous. It was formerly also known as the violin clef. The treble clef was historically used to mark a treble, or pre-pubescent, voice part.

Among the instruments that use treble clef are the violin, flute, oboe, bagpipe, English horn, all clarinets, all saxophones, horn, trumpet, cornet, euphonium (and occasionally baritone), vibraphone, xylophone, Mandolin, recorder and guitar. Treble clef is the upper stave of the grand stave used for harp and keyboard instruments. It is also sometimes used, along with tenor clef, for the highest notes played by bass-clef instruments such as the cello, double bass (which sounds an octave lower), bassoon, and trombone. The viola also sometimes uses treble clef for very high notes. Treble clef is used for the soprano, mezzo-soprano, alto, contralto and tenor voices. The tenor voice sounds an octave lower, and is often written using an octave clef (see below) or double-treble clef.

next time bass clef :D

Clefs

This time, we'll study for component for music. CLEFS clef is a musical symbol used to indicate the pitch of written notes. Placed on one of the lines at the beginning of the stave, it indicates the name and pitch of the notes on that line. This line serves as a reference point by which the names of the notes on any other line or space of the stave may be determined. Only one clef that references a note in a space rather than on a line has ever been used.

Clef Name Note Line G-clef G4 passes through the curl of the clef. C-clef Middle C (C4) passes through the centre of the clef. F-clef F3 passes between the two dots of the clef. The use of three different clefs makes it possible to write music for all instruments and voices, even though they may have very different tessituras (that is, even though some sound much higher or lower than others). This would be difficult to do with only one clef, since the modern stave has only five lines, and the number of pitches that can be represented on the stave, even with ledger lines, is not nearly equal to the number of notes the orchestra can produce. The use of different clefs for different instruments and voices allows each part to be written comfortably on the stave with a minimum of ledger lines. To this end, the G-clef is used for high parts, the C-clef for middle parts, and the F-clef for low parts—with the important exception of transposing parts, which are written at a different pitch than they sound, often even in a different octave. In modern music, only four clefs are used regularly: the treble clef, the bass clef, the alto clef, and the tenor clef. Of these, the treble and bass clefs are by far the most common.

next time we'll learn about classification of clef

La Campanella by Liszt

La campanella (Italian: the little bell) is the nickname given to the third of six Grandes études de Paganini ("Grand Paganini Études"), S. 141 (1851), composed by Franz Liszt. This piece is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell. The étude is played at a brisk allegretto tempo and studies right hand jumping between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the thirtieth and thirty-second measures. However, the left hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.

International Chopin Piano Competition

Did you know?
to honour the great composer Frédéric Chopin, a contest was held in warsaw,Poland.
It is one of the oldest and most prestigious music competitions in the world. It was initiated in 1927 and has been held every five years since 1955. It is one of few competitions devoted entirely to the works of a single composer.

For every pianists, it would be an honour to enter this competition
Are you the ones who want to enter this competition?

Source: http://konkurs.chopin.pl/en/edition/xvi/participants/info/stage/4