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As a musician, you often come across a situation in which you need to transpose a piece of music from Do to E-flat. Especially often in professional groups and orchestras there is a situation when all the music is recorded in Do, and the obligation to transpose lies with you. If you need to add alto saxophone, or baritone, or E-flat clarinet, don't be alarmed .... just wave your pen and transpose. Over time, the process will become almost automatic.

Key table. Transpose

Transpose called the transfer in height of the entire musical work (harmony, melody) when it is impossible or time consuming to perform a voice in the original key. It is possible to transpose a composition by 12 keys, given that the minimum pitch is a semitone, that is, you can raise and lower the tone as a clean note (there are seven of them) or semitone (there are five of them, that is, sharps or flats).

When transposing up the fifths of C major, at each stage a new sound appears between the IV and V steps of the previous key - it is indicated with a sharp (magnification sign) #) added to the name of the V stage. The same thing is observed with an increase in the fifth of the minor, as well as transposition of the keys down (where the sign of reduction is used - a flatb) By the way, these are the correct notation of steps in keys - for example, in E major (that is, “E”), the “C # m” chord should not be called “Dbm”, and even more so you cannot combine sharps and flats in one key. Now take a look at the following table:

T II III S D VI VII | t II III s d VI VII steps
C Dm Em F G Am H7 | Am H7 C Dm E7 F G keys

(transpose up, add sharps)
G Am Hm C D Em F # 7 | Em F # 7 G Am H7 C D
D Em F # m G A Hm C # 7 | Hm C # 7 D Em F # 7 G A
A Hm C # m D E F # m G # 7 | F # m G # 7 A Hm C # 7 D E
E F # m G # m A H C # m D # 7 | C # m D # 7 E F # m G # 7 A H
H C # m D # m E F # G # m A # 7 | G # m A # 7 H C # m D # 7 E F #
F # G # m A # m H C # D # m F7 | D # m F7 F # ​​G # m A # 7 H C #

(transpose down, add flat)
F Gm Am B C Dm E7 | Dm E7 F Gm A7 B C
B Cm Dm Eb F Gm A7 | Gm A7 B Cm D7 Eb F
Eb Fm Gm Ab B Cm D7 | Cm D7 Eb Fm G7 Ab B
Ab Bm Cm Db Eb Fm G7 | Fm G7 Ab Bm C7 Db Eb
Db Ebm Fm Gb Ab Bm C7 | Bm C7 Db Ebm F7 Gb Ab
Gb Abm Bm H Db Ebm F7 | Ebm F7 Gb Abm B7 H Db

The steps of the modes are not presented as separate sounds, but as chords used in harmony, based on parallel major and minor on the first line. The notes from the second line can be safely called tonalities, and the chords themselves are simple triads with a tertiary structure according to the laws of harmony. In table I, IV and V, the level in both major and minor is indicated by letters T, S and D accordingly, the chords from these steps in harmony are considered the main ones, and are called tonic, subdominant and dominant. It should also be noted that the last rows of the table - flat or sharp lines coincide in tone (F # -D # m and Gb-Ebm).

For convenience, in order not to rearrange the instrument to the necessary key, a capo is usually used for the guitar - it’s a conditionally speaking clothespin that allows you to raise the tone or there is an option to use the electronic method for electric guitars - these are harmonizers, such devices allow you to generate a 3-voice detuning with a slightly raised and omitted height added to the direct signal. Voices can be shifted an octave up or a quint below the note played, which is great for playing arpeggios. All you have to do is choose the key and determine whether it is major or minor.

Transpose melodies

Transposition in music is the transfer of melody notes to a different height, while the tonality changes along with the pitch. It seems that, judging by our definition, this is not a very complicated process, but there are some features whose knowledge will help you in this matter.

Firstly, why do you need to move the melody lower or higher - for convenience, for example, it’s easier for you to play something lower than it is recorded, or the melody in the bass key, but the notes are so high that it is easier to write them in the treble clef. By the way, the same notes in the bass key are located two notes lower than in the treble clef. Sometimes transposing is useful for the vocal line, so that the notes are included in the range of the voice of the performer.

Secondly - how much easier it is to transpose. There are also some rules in this regard. Suppose we have a melody in a major key and it contains the following notes: salt, mi, do, la, salt, fa, mi, re, while we have the key in C major. And we want to transpose it into a different key, let's say A-major. To do this, you need to analyze the melody: for example, the note salt is the dominant fifth stage, the e is the median, to, the tonic, the la is also the median, but from the sixth stage and so on. Now, in the gamma for la, we just need to find the same functional steps that we derived above for the gamma in C major - these will be the notes we need. So, first of all, we are looking for the fifth step - this is the E in A major, then the mediant is the C sharp note, then the tonic is A, then the median from the sixth is F sharp, that is, we repeat our entire path of analysis and transfer found way sounds.

Well, here we end up with a transposed rather simple melody.

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