its range as far as the 'cello is concerned, if from C, two leger lines below, which is the C open string of the 'cello, to C, leger line above. However, for clearness and simplicity in reading, the range of the bass clef is extended by means of leger lines as far as A, an octave higher than the top line of the clef. The bass clef seems to be the most easily learned, perhaps because it is generally the first to be tackled, differing greatly in this respect from the tenor clef, the latter clef sometimes having a damping influence on the young 'cellist's enthusiasm for a considerable period.
The tenor clef
is generally used for passages on the violoncello, the range of which does not extend below the open D string, except for an occasional note or two, and upwards as far as C, or D, above the A half-string. This is a very useful clef, taking, as it does, the middle range of the instrument. Sometimes whole compositions, especially if of a cantabile nature, are written entirely in the tenor, and I am pleased to say that it is now becoming more known, and is more used by composers than formerly. In passing it is perhaps interesting to observe that the notes in the tenor clef, are exactly a fifth higher than if written in the corresponding positions in the bass clef. Some players use this as a kind of help, when playing in the tenor clef, reading the notes as if they were in the bass, but playing them a string higher; thus, a passage commencing on the first line, tenor clef, would be read G but played open D string. These short-cut helps as a rule are not much to be depended upon, and generally are the result of the inventive faculties which seem to be a special gift to the lazy. Each clef should be made to have a separate existence in the mind of the player, or hesitation and confusion are sure to result.
The treble clef
is also much used in its proper pitch in modern 'cello music; the old masters instead of writing in the tenor clef, wrote the high passages in the treble, the notes to be played an octave lower than represented. In playing from early editions, the violoncellist must be on the alert for this, as some of the passages written thus would not sound well even if they could be played in their proper pitch.
The student should thoroughly understand the relation of each clef to the great stave; until he is decided on this simple matter, he will be much troubled with the relative pitch of the tenor clef, treble, etc.
The great stave is composed of two sets of five lines each, with an intermediate line. This intermediate line belongs alike to the treble and the bass clefs, that is to say, it forms the leger line below the treble, and also the leger line above the bass.