Octavating

The idea underlying this section is ‘the exploitation of non-octavating pitch-sieves (scales) and their cyclic transpositions.’

The tenor, originally written in standard G clef, is here written in octavating G clef, showing that it is to be read an octave lower than it is notated.

Ob 1 = flute 1 (= octavating violin 1)

Soprano, alto, and tenor clefs used for the corresponding vocal parts in the principal and concordant sources have been changed here respectively to treble, treble, and octavating treble.

The tenor is here written in the octavating G clef, indicating that it is to be sung an octave lower than notated. The counter parts in part 1, which were originally meant to be read as though octavating, are here written at actual pitch.

Clefs for the treble and bass have been retained, the treble clef substituted for the alto clef in the counter, and the octavating treble clef supplied to the tenor.

The octavating treble clef has been used for the tenor part, indicating that it should be sung an octave lower than written.

In the expanded Gamut with its octavating hexachords, all C’s, D’s, G’s, and A’s could be allotted three voces.