octavating

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

1977, Contact, XVIII-XXIII, page 43

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.

1984, Richard A. Crawford, editor, The Core Repertory of Early American Psalmody, page xvii

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.

1994, Antonio Salieri, edited by Jane Schatkin Hettrick, Mass in D Major, preface, page xii

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.

1995, Stephen Jenks, edited by David Warren Steel, Collected Works, page xlviii

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.

1995, Daniel Read, edited by Karl Kroeger, Collected Works, pages 221–222