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A clef (from French: clef 'key') is a musical symbol used to indicate which notes are represented by the lines and spaces on a musical staff. Placing a clef on a staff assigns a particular pitch to one of the five lines or four spaces, which defines the pitches on the remaining lines and spaces.

In modern music, only four clefs are used regularly: treble clef, bass clef, alto clef, and tenor clef. Of these, the treble and bass clefs are by far the most common. The tenor clef is used for the upper register of several instruments that usually use bass clef (including cello, bassoon, and trombone), while the alto is most prominently used by the viola. Music for instruments and voices that transpose at the octave is generally written at the transposed pitch, but is sometimes seen written at concert pitch using an octave clef.

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The only G-clef still in use is the treble clef, with the G-clef placed on the second line. This is the most common clef in use and is generally the first clef learned by music students.[2] For this reason, the terms "G-clef" and "treble clef" are often seen as synonymous. The treble clef was historically used to mark a treble, or pre-pubescent, voice part.

A G-clef placed on the first line is called the French clef, or French violin clef. It was used in France in the seventeenth and eighteenth centuries for violin music and flute music.[3] It places the notes in the same staff positions as the bass clef, but two octaves higher.

When the F-clef is placed on the third line, it is called the baritone clef. Baritone clef was used for the left hand of keyboard music (particularly in France; see Bauyn manuscript) and for baritone parts in vocal music. A C-clef on the fifth line creates a staff with identical notes to the baritone clef, but this variant is rare.

A C-clef on the third line of the staff is called the alto or viola clef. It is currently used for viola, viola d'amore, alto trombone, viola da gamba, and mandola. It is also associated with the countertenor voice and sometimes called the countertenor clef.[4] A vestige of this survives in Sergei Prokofiev's use of the clef for the cor anglais in his symphonies. It occasionally appears in keyboard music (for example, in Brahms's Organ Chorales and John Cage's Dream for piano).

A C-clef on the fourth line of the staff is called tenor clef. It is used for the viola da gamba (rarely, and mostly in German scores; otherwise the alto clef is used) and for upper ranges of bass-clef instruments such as the bassoon, cello, euphonium, double bass, and tenor trombone. Treble clef may also be used for the upper extremes of these bass-clef instruments. Tenor violin parts were also written in this clef (see e.g. Giovanni Battista Vitali's Op. 11). It was used by the tenor part in vocal music but its use has been largely supplanted either with an octave version of the treble clef or with bass clef when tenor and bass parts are written on a single staff.

Another tenor clef variant, formerly used in music for male chorus,[5] has a ladder-like shape. This C-clef places the C on the third space of the staff, and is equivalent to the sub-octave treble clef. See also History.

A C-clef on the second line of the staff is called the mezzo-soprano clef, rarely used in modern Western classical music. It was used in 17th century French orchestral music for the second viola or first tenor part ('taille') by such composers as Lully, and for mezzo-soprano voices in operatic roles, notably by Claudio Monteverdi.[6] Mezzo-soprano clef was also used for certain flute parts during renaissance, especially when doubling vocal lines.[7] In Azerbaijani music, the tar uses this clef.[citation needed]

Starting in the 18th century, music for some instruments (such as guitar) and for the tenor voice have used treble clef, although they sound an octave lower. To avoid ambiguity, modified clefs are sometimes used, especially in choral writing. Using a C-clef on the third space places the notes identically, but this notation is much less common[8][9] as it is easily confused with the alto and tenor clefs.

Tenor banjo is commonly notated in treble clef. However, notation varies between the written pitch sounding an octave lower (as in guitar music and called octave pitch in most tenor banjo methods) and music sounding at the written pitch (called actual pitch). An attempt has been made to use a treble clef with a diagonal line through the upper half of the clef to indicate octave pitch, but this is not always used.

In printed music from the 16th and 17th centuries, the C clef often assumed a ladder-like form, in which the two horizontal rungs surround the staff line indicated as C: ; this form survived in some printed editions (see this example, written in four-part men's harmony and positioned to make it equivalent to an octave G clef) into the 20th century.

C clefs (along with G, F, , D, and A clefs) were formerly used to notate vocal music. Nominally, the soprano voice parts were written in first- or second-line C clef (soprano clef or mezzo-soprano clef) or second-line G clef (treble clef), the alto or tenor voices in third-line C clef (alto clef), the tenor voice in fourth-line C clef (tenor clef) and the bass voice in third-, fourth- or fifth-line F clef (baritone, bass, or sub-bass clef).

Clef combinations played a role in the modal system toward the end of the 16th century, and it has been suggested certain clef combinations in the polyphonic music of 16th-century vocal polyphony are reserved for authentic (odd-numbered) modes, and others for plagal (even-numbered) modes,[14][15] but the precise implications have been the subject of much scholarly debate.[16][17][18][19]

Reading music as if it were in a different clef from the one indicated can be an aid in transposing music at sight since it will move the pitches roughly in parallel to the written part. Key signatures and accidentals need to be accounted for when this is done.

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A musical-notation symbol at the beginning of a music staff, a clef indicates the pitch of the notes on the staff. Clefs were originally letters, identifying letter-named pitches, that were added to one or more of the staff's lines (thus providing a "key" to their identity). Knowing the identity of a single line permitted the musician to identify all the other lines and spaces above and below. Clefs were first regularly used in the 12th century. The Gothic letter forms of G and F evolved into the modern treble and bass clefs, respectively; the letter C evolved into the rarer alto, tenor, baritone, and soprano clefs.

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Usually, the same clef is used throughout a whole piece of music. However, if one or more notes are far outside the staff, you can change the clef to avoid excess ledger lines, making the notes easier to read:

Among the instruments that use this music clef are the violin, flute, oboe, bagpipe, cor anglais, all clarinets, all saxophones, horn, trumpet, cornet, vibraphone, xylophone, mandolin, and recorder. It is also used for the guitar, which sounds an octave lower than written, as well as the euphonium and baritone horn, both of which sound a major ninth lower. The treble clef is the upper staff of the grand staff (which contains both treble and bass clef joined together) used for harp and keyboard instruments. It is also sometimes used, along with tenor clef, for the highest notes played by bass clef instruments such as the cello, double bass (which sounds an octave lower), bassoon, and trombone. The viola may also use the treble clef for very high notes.

Among the instruments that use this music clef are the cello, euphonium, double bass, bass guitar, bassoon, contrabassoon, trombone, baritone horn, tuba, and timpani. It is also used for the lowest notes of the horn, and as the bottom staff in the grand staff for harp and keyboard instruments.

For guitars and other fretted instruments, it is possible to notate tablature in place of ordinary music clef notes. In this case, a TAB sign is often written instead of a clef. The number of lines of the staff may change depending on the instrument. Each line represents a different string on the instrument, so for standard six-stringed guitars, six lines would be used, and for a traditional bass guitar, four lines would be used. Numbers instead of notes are placed on these lines, and they represent which fret the string should be played. This TAB sign, like the Percussion clef, is not a clef in the true sense, but rather a symbol employed instead of a clef.

In Western musical notation, pitches are designated by the first seven letters of the Latin alphabet: A, B, C, D, E, F, and G. After G these letter names repeat in a loop: A, B, C, D, E, F, G, A, B, C, D, E, F, G, A, B, C, etc. This loop of letter names exists because musicians and music theorists today accept what is called octave equivalence, or the assumption that pitches separated by an octave should have the same letter name. More information about this concept can be found in the next chapter, The Keyboard and the Grand Staff.

This assumption varies with milieu. For example, some ancient Greek music theorists did not accept octave equivalence. These theorists used more than seven letters of the Greek alphabet to name pitches. 2351a5e196