In Lesson 11 of ‘Studies in Music Theory’ by James Harrison, Louis Martin and Myron Fink, the alto clef is introduced. The lesson also includes a first glimpse at second species counterpoint, wherein the Cantus Firmus begins to appear consistently in the alto clef against treble or bass. The treble-alto and alto-bass combinations are favorable because in two part music, these pairs of vocal ranges produce a better overall balance.
A beautiful summary of the clefs that have been in use throughout common practice is given above. While not all of these clefs are currently in use, a responsible musician would need to be fluent in most of them in order to read complex scores more readily. The soprano clef facilitates reading instruments in A, while the mezzo soprano clef serves well in reading the English horn and the horn in F. The alto clef is the primary clef for the viola and alto trombone, and works well in reading instruments in D. Bassoon and violoncello parts often change to the tenor clef, the primary clef of the tenor trombone. The tenor clef is also used to read the B flat clarinet and trumpet. And the baritone clef is useful for reading the horn in G and the alto flute.
The next post will be [another] puzzle in determining the clefs and key signature of a three-voice texture.
The examples are quoted by permission of the authors.
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