In the music to be provided to the Conferences of Bishops, ICEL seriously considered employing the venerable four‐line square note notation of the Latin chant books. Once one learns the medieval notation, which does not take long, it is in some ways easier to read than modern five‐line notation. But pastoral considerations argued against this approach. There is danger that the traditional four‐line notation would pose a practical hindrance and psychological barrier for some singers. The uppermost goal must be to enable sung liturgy.
Though a standard G clef (without key signature) is used with this five‐line notation, it is not intended to suggest an absolute pitch, but rather, as in four‐line notation, relative pitch, to accommodate various ranges of voices that will be singing these chants.
This was never obvious to me, having mastered a few C clefs before coming to chant. I now transpose 5 line clefs routinely as well, but also appreciate a well considered suggestion for pitch: our congregation always starts Agnus XI in e dorian and the organ accompaniment is never practiced in any other key.a four-line staff... would be clearer that the pitch range should be adjusted to the singers.
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