Short Score and Open Score for Voices - Music Theory
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Date: 2022-03-28
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Comments and reviews: 4
Randolph
In my not very extensive compositional experience, writing in short score has a limiting effect: one tends to write simple, non-crossing lines for each voice; and the visual effect of pairing soprano/alto and tenor/bass tends to make one think of those pairs when writing small duets within the overall piece -- vice a tenor-alto duet, for example. On the other hand, writing in open score is more time consuming, even with software, and makes it more difficult (for me!) to catch errors and see how the harmonic progressions are working. And, an open score piece will easily require many pages to print, which is a bummer for composer and performer!
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In my not very extensive compositional experience, writing in short score has a limiting effect: one tends to write simple, non-crossing lines for each voice; and the visual effect of pairing soprano/alto and tenor/bass tends to make one think of those pairs when writing small duets within the overall piece -- vice a tenor-alto duet, for example. On the other hand, writing in open score is more time consuming, even with software, and makes it more difficult (for me!) to catch errors and see how the harmonic progressions are working. And, an open score piece will easily require many pages to print, which is a bummer for composer and performer!
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Jay
I had thought short scores were adopted simply to cram more hymns into the hymnals. ;-) As a singer, I much prefer reading open scores. When hymns have lots of lyrics, my eyes are jumping all over the place, trying to follow both the lyrics and the musical line. And you're right -- the tenor's treble clef in the open score does seem like madness.
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I had thought short scores were adopted simply to cram more hymns into the hymnals. ;-) As a singer, I much prefer reading open scores. When hymns have lots of lyrics, my eyes are jumping all over the place, trying to follow both the lyrics and the musical line. And you're right -- the tenor's treble clef in the open score does seem like madness.
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Ted
It's always a bit confusing having Tenor-part being able to be written with a G-clef or a C-clef....and they're both called -Tenor Clef-. But so few recognize or can read Tenor C-clef that is better to use the sub-octave Treble G-clef.
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It's always a bit confusing having Tenor-part being able to be written with a G-clef or a C-clef....and they're both called -Tenor Clef-. But so few recognize or can read Tenor C-clef that is better to use the sub-octave Treble G-clef.
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Adrian
One thing you forgot to mention. Changes between open and short score preferably arranged on page turns to bamboozle the tenors. Tongue in cheek by bamboozled tenor. Tee hee!
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One thing you forgot to mention. Changes between open and short score preferably arranged on page turns to bamboozle the tenors. Tongue in cheek by bamboozled tenor. Tee hee!
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