ILLINOIS UNIVERSITY OF ILLINOIS AT UR B AN A-CH AMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Brittle Books Project, 2015.COPYRIGHT NOTIFICATION In Public Domain. Published prior to 1923. This digital copy was made from the printed version held by the University of Illinois at Urbana-Champaign. It was made in compliance with copyright law. Prepared for the Brittle Books Project, Main Library, University of Illinois at Urbana-Champaign by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2015^TRANSPOSITION . X By Prof. H. KlASIG »3 O — Price $1.00. Carl Fischer, inc. COOPER SQUARE, NEW YORK 0 668MUSC UBSARYTRANSPOSITION By Prof. H. KLING A PRACTICAL AND AUTHOR- ITATIVE GUIDE FOR ALL JN- STRUMENTS, WITH SPECIAL REFERENCE to the CLARINET, CORNET. TRUMPET, FRENCH HORN AND PIANO - FORTE TRANSLATED FROM THE ORIGINAL GERMAN EDITION AND AUGMENTED BY GUST AV SAENGER O 666 Carl Fischer Inc., BOSTON NEW YORK CHICAGOPreface TRANSPOSITION unquestionably presents great and extremely perplexing difficulties to many performers. The difference in pitch and notation of our various instruments present conditions which, to the beginner, are nothing short of chaotic. In addition to the technical difficulties encountered in mastering any individual instrument, the player, as a rule, finds himself hopelessly bewildered by the fact that the same note on paper will sound entirely different on the majority of our instruments, and that notes producing the same sound when played are placed in entirely different positions upon the staff when scoring the individual parts for the respective instruments. Aside from these difficulties, however, there is no branch in the entire study of music which will benefit and advance a musician as much as the study of transposition. A thorough understanding of this subject will impart to the student a complete under- standing of how to write for the respective instru- ments, the exact notation of the different instruments, including the usage and significance of the various clefs, how they are read and written for. It will also clear up the many perplexing questions in regard to our system of accidentals, showing how it is that sharps must often be changed into flats and flats into sharps— how in some cases a natural will become a sharp and in other cases a flat; explaining the nature of double sharps and double flats and the necessity for their use under certain conditions. In a word, it brings about a thorough and intimate knowledge of our entire tonal system as applied to the requirements of instru- mental execution. In the following work this difficult and perplexing branch of music has been taken up and earned through in as careful, thorough and practical a manner as it is possible to do in print. Adherence to the instructions here given will lead to an ultimate mastery of the entire subject, and as fundamental training is essential to success, abundant material has been provided in the subsequent chapters of this new and authoritative work. These few introductory words are offered in the hope that this Practical Method of Transposition may prove a trustworthy guide to the final mastery of the least understood, but most important of all musical accomplishments. Prof. H. KlingContents Page General Preparatory Exercises............................................................................1 Intervals........................................................................................................................................2 Keys and Their Signatures........................................................................................3 The Scales..............................................................— 3 Clefs Most Frequently Employed in Musical Notation................4 Real Tonal Pitch of Voices, String and Wind Instruments... 4 •Transposition..........................................................................................................................7 Transposing at Sight ..................................................................................................11 Special Remarks on Transposition For Clarinet Players......................................................................................................17 For Cornet Players..........................................................................................................19 For Trumpet Players......................................................................................................26 For French Horn Players..........................................................................................32 For Tuba Players...................................................................................39 For Violin Players ............................................................................................................40 Transposition of a Song With Piano Accompaniment..................431 CHAPTER I. General preparatory Exercises for the Notes and Keys. The designation of the notes:- Without accidentals: C-D-E-F-G-A-B. With sharps (#): C sharp, D sharp, E sharp, F sharp, G sharp, A sharp, B sharp. With flats (b): C flat, D flat, E flat, F flat, G flat, Aflat, B flat. Explanatory Table of all the Major and Minor Keys and their Names. •SXtt «—*»>!;:& «■>—»'IS2K: 4sh»Ps i D# Soli 7 ,h"Ps<»1 (A| Sop'. minor. 3 flats(l») { maj°r- (C minor. 4 flats(b) | j At major. F minor. •o-wintas:: StSS: CHAPTER II. Intervals, (difference in pitch, position.) An Interval is the distance between two tones, or their difference as regards pitch. The lower of the two tones is the fundamental tone of the interval; the higher is designated as the interval proper. Names of the Intervals. Primes. Seconds. -J- -J- -J- b-fil t|-J- il Thirds. Fourths. Fifths. Sixths. iJ '(' U V U T i Sevenths. -$-1—P I I V—i—h4p—|—| kf3 — — \brj 0ctaves-—---- ^ J r IJ T i rl T |I,1 T ||JT |i.JT |^.f Tenths. Twelfths. 1 , f\ —i—h*—H— --p— . %? r#=i § J r i UH 11 ......-f- ■ — V 1 11 i 1 1 'J. " 7 cJ —i- -1 ■ Tenths. Twelfths. 13970 - 44 Copyright, MCMX, by Carl Fischer, N.Y.2 Inversion of the Intervals. All intervals at no greater distance from each other than an octave can be inverted. Through this process, and by means of the inversion of the octave, the lower note is trans- formed into the higher and the higher into the lower. This inversion may be brought a- bout and illustrated as follows:- 1-2-3-4-5-6-7-8 will produce through inversion 8-7-6-5-4-3-2-1. From this it may be seen that through the inversion of the intervals a prime is trans- formed into an octave, a fifth into a fourth, a second into a seventh, etc Table of the Intervals, together with their Inversions. 2. t Primes. Perfect. Augmented. Major. Seconds. Thirds. Minor. Augmented. Major. Minor. Dimin. i i |i,i Perfect. Diminished. Octaves. w 1ft Minor. Major. Diminished. Sevenths. Minor. Major. Sixths. Augm. Inversion. Fourths. Fifths. Sixths. Major. Augm. Dimin. Perfect. Augm. Dimin. Major. Minor. Augm Augm. W* Augm. Minor. $ Dimin. Fifths. Perfect. Dimin. Fourths. Minor. Major. Thirds. Dimin i m $ Sevenths. Major. Minor. Dimin. Octaves. Perfect. Dimin. Ninths. Major. Minor. w? Augm. w 5 Minor, Major. Seconds. Perfect. Augm. Primes. An interval is designated as an augmented interval when its limit is extended one half- tone beyond that of the natural interval of the same name which appears in the major scale. An interval is designated as a minor interval when the distance between its two tones is one half-tone less than in the interval of the same name which occurs in the major scale. An interval is designated as a diminished interval when the distance between its two tones is one half-tone less than in a minor interval. Through inversion an augmented interval becomes diminished, a minor becomes major, and a diminished interval is changed into an augmented. 12970 - 443 CHAPTER III. Keys and their Signatures. 3. C major. 1 major. D major. A major. E major. B major. Fjt major. t ittn i*A ii »A. .. i*ifat= Cjf major. •J A minor. E minor. B minor. F# mi minor. n C# mi minor. G# : * Djt minor. A mj£ A$ minor. £ TT Fmajor. Bb major. Et>major. Atmajor. Dl?major. Gl> major. Cl? major I 1u D minor. -cr- G minor. -Ht- C minor. ,i>, £ F minor. s £ — Bt minor. ¥ El? mi minor. £ Al? minor. TT The fundamental note of a minor key is found a minor third lower than the fundamental note of the respective major key having the same signature. CHAPTER IV. The Scales. The Diatonic major scale. A ' C major. $ Tone Tone Half-tone Tone Tone Tone Half-tone 5. 4 The Modern or Harmonic minor scale. A minor. £ ^ tv ^ " Half- Half- Tone Half- Tone Tone tone Tone tone tone Half- 1V2 Half- T ^ tone tone tone Half- Tone tone 6. The Old or Melodic minor scale. iP ^Tone^lf- tone Tone Tone Tone Tone Tone Tone Half- Tone Tone ^alf_ tt tone Tone 7. The Chromatic scale. f ° ft' 12970-444 g The Enharmonic Scale E sharp. F shar] G flat. pC sharp. p>D sharp, -n P p !harn nGsharP- A A sharP" "D P B sharp. WD flat. U E flat. ill F flat, £ J8™?' U A flat. A B flat, JJ C flat. C Additional designation of the notes of the Chromatic-enharmonic Scale: - B sharp c D double flat B double sharp C sharp D flat C double sharp D E double flat E flat D sharp F double flat D double sharp E F flat E sharp F G double flat E double sharp F sharp G flat F double sharp G A double flat Gsharp A flat G double sharp A B double flat B flat A sharp C double flat A double sharp B C flat The scales of all the other keys of our musical system are formed exactly alike; that is, their intervals follow in the identical manner shown in examples 4-8. CHAPTER V. Clefs most frequently employed in Musical Notation. 1. The Soprano (C) clef, written on the first line. _c_ ik °r liiJ ^ ^ 2. The Violin or G clef, written on the second line. 3. The Alto (C) clef, written on the third line. c li! r 4. The Tenor (C) clef, written on the fourth line. u I 1*1 r! nr I4r m \w | UI ||f^ ^ lr 1 IUI 1 5, The Bass or F clef, written on the fourth line. CHAPTER VI. The real Tonal Pitch of the Voices, and of the Stringed and Wind Instruments. Transposition, in its strict sense, means the conveyance of a composition into another key, or its execution higher or lower as necessity might demand, but w?.th strict adherance to the orig- inal tonal relationship of its intervals. Above all, it is mo^t necessary to be thoroughly ac - quainted with the exact tonal range of the voices, and of all the instruments 12970 -44Toilal pitch of the various voices. 9. Soprano. Modern Real sound Old notation, notation, or pitch. s s -G¥- Alto. Tenor. • H " or M Bass . ^ ¥ Tonal pitch of all the stringed instruments. ^9* Real sound. —g- Violin. Viola. Cello. Double-bass. Tonal pitch of the Flutes and Piccolos. 11. Dl? Piccolo. C Piccolo. El? Flute. Grand Flute. -tv- Tonal pitch of the Oboe and Bassoon. 12. Oboe. English Horn Alto - Oboe (" ?n or J/ in F). =Bj£ Real sound. 0 ( A Re8 Real sound. Bassoon. m 12970-446 Tonal pitch of the most frequently employed Clarinets 13. Al? Clarinet El? D C Bl? met. ^ TT iP * XT 0 Bass Clarinet in Bl? • 0 Y i Real sound. Tonal pitch of the following brass instruments:- * 14. El? Cornet Bl? Cornet, fc, Bl? Fluegel-horn, Bl?Soprano Saxophone. t; The same El? Alto or El? Tenor in A. SE El? Alto Saxophone El? Baritone Saxophone 35 written 1 octave higher. ^ Bl? Tenorhorn Bl? Trombone _ Bl? Baritone. ^ Baritone, Euphonium or Bl? Bass. Trombone. El? Bass. BBl? Bass. $ -of i Real sound. For more detailed and complete information on this subject, see Prof. H Klings 4 Modern Orchestration and Instrumentation" published in a special American edition, by Carl Fischer, N.Y. 12970-447 CHAPTER VII. Transposition. Transposition may be divided into two principal classes 1. Written Transposition. 2. Transposition at sight. The first must be practiced continually in order to arrive at mastery of the second; and to obtain satisfactory results in both, the following proceeding is suggested: As a practical example the following melody is to be transposed from Et major to C major. 15. i Allegro vivace. keg-1 Mozart. 2. ir 'r " 11 $ 5. 6. 7. 8. 9. r u 'r r' u iiiisr u t 10. 11. 12. 13. 14. 15. 16. 4h<" r 11J 17. m 18. 19. 20. 21. 22. 23. 24. 25. 26. -y rrrl ©-- fHr P-m f d— 9 P — FF*i ft • m......_ # N=1 23. 24. 25. etc. In order to illustrate this transposition in as simple a manner as possible, it will suffice to write the scale of the key in which the piece was originally written, and al- so'the one into which the transposition is to be made, one above the other, in the follow- ing manner, through which we will become aware of the relationship in which the inter- vals of both keys stand to each other, at a glance 16. E\> major. C major. 1. 2. 3. 4. 5. 6. 7. 8. -o-»-^- 2. 3. 4. 5. 6. 7. 12970 - 448 From this plain illustration we will be enabled to see at once how the numbered inter- vals of the E flat major scale must sound in C major, and the transposition of Mozart's mel- ody can be*done without the slightest difficulty, as shown herewith The following remarks should be carefully considered:- While the key of a composi- tion may be transferred through transposition (that is, to one or more intervals higher or lower) the character of the key is never changed _ that is, a major key remains major, and a minor key minor. As to the accidentals ($, x, b, \>\> or t;) particular attention must be paid to them in transposing. In measures 15, 16, 19 and 25 of example 15, we find the following alterations: 18. raised. X . ^-7- E\> major. i lowered. ^ ii Step 4. 5. 6. 7. which affect the same intervals when transposing to C major in an identical manner:- 19. raised. lowered. C major. ft) p Step 4. 5. 6. 7. If a natural (fcj) dissolves a flat (k), the transposition will change it into a sharp(tf), and if a natural Ct]) dissolves a sharp (#)t the transposition will change it to a flat (l>). This pro- ceeding must now be observed in every possible key. 12970 - 44The same rule holds good in the transposition of compositions in a minor key, as shown in the following example From the Piano Sonate op.26. 30. Marcia funebre. i. Beethoven. 2. i 4 4 J,1 4 m —e— J&-1. V\, J r r eresc. mm 7. 1 p -i: -t 351 ^ ^ J il 10. 11. wm p & ? a S* s ji * « VI, V V r '.E_r ,K_i'--u. pfep *> ill, L I—##! 1- -4 t=4 P- -4 t=1 frftl j: i-i: 1 —y—g—g: i 1* 3=.- * =&8 ^ I'V'1, It, #:i L I ► :i L I P :i t * 1° If f etc. 12970-44 etc. 12970-4410 The preceding example is to be transposed from A-flat minor to A minor; that is, only one half tone higher. This is done in the same way as with Ex. 15:- 21. Ab minor. A minor. I&E o k 1. 2. 3. 4. 5. 6. 7. 8. oft""*- 1. 2. 3. 4. 5. 6. 7. 8. Transposition of Ex. 20. to A minor would therefore present itself as follows 22. in 1. 2. 3. i —4 P r "lir * y 1 ' * • « r zJ r r 1§ 4. ere sc. 7. 11 ■) I I f 11 p T r U r gj r. r p= 1 -* i- -i i- -J ==*! ~4 HrH —a 5^- ! \: I m I > i ^ i 9- r r —4 1 -—j|- « 1' 3- ^ -J 9 U. 12 13. P 14. si l># etc. i: r r 12970-4411 Starting from the end of the eighth measure, through the ninth and tenth, the trans- position really should be written as follows 23. etc. n r But in order to simplify the reading of these measures, it is advisable to write them as shown in Ex. 22; in writing them in this manner the advantages of the chromatic-enhar- monic tonal system, as illustrated in chapter IV of this work (The Enharmonic scale) wTill be seen. As in so many other cases, practical and constant application alone will lead to mastery in this particular field, and it is urgently necessary to transpose as many different move- ments as possible into distant keys; this should be done exactly as indicated in the var- ious examples given, and the results will surely repay the trouble of so doing. *) CHAPTER VIII. Transposing at Sight. It is an every-day occurrence that a singer, for one reason or another, will want a song or an aria transposed; if the ariiw is with piano accompaniment the pianist will be expected to transpose and accompany it a prima vista - that is, at sight, which very few,however, can do skillfully. If the aria is to be accompanied by an orchestra or a band, the conductor sim- ply announces the key in which the aria is desired to be transposed, and the members of the organization are expected to transpose their respective parts at sight. Consequently, it is an absolute necessity for every musician who desires to become an accomplished orchestra or band member, to study transposition at sight as early and as thoroughly as possible. In order to illustrate transposition of this kind in a practical way, the following melody (Toreador Song by Bizet) has been transposed into many different keys. Other melodies and compositions are to be taken up and transposed in like manner. 24. F major. G. Bizet. PS m J J1 $ j j j ii m Crurr nJ-Jij i§ I 25. The same, transposed one half-tone higher :- F# major. Qj JreTOJ Juir^ Naturally it will be of great benefit to write such transpositions in different clefs; it is very im- portant to become proficient in the change of clefs, as the latter accomplishment is of great use in trans- posing at sight. LIBRARY UNIVERSITY ^ ILLINOIS UR . 12970 -4412 i f |* f r A —■ J.JflrTra ■"-L* y , ]7] J-3 —^ J—I—P—1—J-fj -*L As may be seen from the above example, the notes are identical with those in F major, with this exception, that some of the accidentals have been changed. But instead of F-sharp major, the transposition could also be made to the enharmonic key of G-flat major, as shown in the following example Gt major. _ i r r i'-lcej r 1T|r tin lLLt |Jtf£i r r1J r r df Transposition from F major to G major, one whole tone higher:- The same, transposed to G major. $ £ r f ^-unrr^ tin7 V j ciu ■H31 °Tr-rff*f riiJ^Y i1» el- [J Transposition from F major to A-flat major; one and one half tone higher:- 28. The same, transposed to At major. i £ i: r r if r dUi't SM . rT.=t=b £ pnnipi f .. 1 .■ J — ig-—minnr- O r n, 1 J JU ■ II 7 7 clrc^M ——' J -f 1 7 11 To transpose to A major the same notes are to be read as in Ex. 28, only the signature should be changed as follows u A major; (a major third higher than F major.) 12970-4413 Transposition from F major to E major; one half-tone lower E major. m j),i j n 7 j. Ikh i [ vri 11J 1 1 J J >rfrUr * '> J -* —v 4 a 4 * 4 4} < ---J—J v i 4 ■ 4 m 4 : ■ t1* To transpose to E flat major the same notes as in Ex. 30 are to be read, changing the signature as follows Eb major. etc. Transposition from Fmajor to D major, one and one-half tone (a minor third) lower:- 32. D major. 33. Db major (a major third lower than F major.) etc. "7 h. J \==^ W A 33. Db major (a major third lower than F major.) Transposition from Fmajor to C major; that is, a perfect fourth (four notes) lower:- 34. 0 major. The above transposition could also have been made use of for C sharp major, in the following way:- 35. o# major.. etc. 12970-4414 Transposition from Fmajor to B-flat major; that is, a perfect fifth (five notes) lower:- Bb major. In the same manner this melody could have been transposed to B major, as follows: - 87. B major. V-9 7 —l etc. The best method for simplifying transposition, and one which should be employed in pre- ference to all others, is the use of the different clefs:- 38. One Tone lower: One Tone higher: A Third lower: A Third higher: 4 i Practical employment of the clefs already shown, in connection with transpositions 39. $ |f ttfllS \rm Rossini. f J r i r 0 rPrr^ 40. G\> major. Transposed 1 tone lower: 41. & major. Transposed ^2 tone lower: r- T=\ •f J— r 1 v \f 1; ..........!...... 43. Bl? major. Trans] -fa- 1 \> ii -£-- posed ! 7 L tone hi /-- gher: 42. V Kl ' 44 F major. Transpos \ r r 1 f im '--!--- sed 1V2 ^ ' - 0 © £ 0 L ^ - J-- fer: i £ £ 43 B major. Transposed tone higher: w* 45. C major. Transposed 2 tones liigher: (To be-imagined two octaves higher.) Transposition upon those instruments which naturally play in the Alto, Tenor or Bass clef is brought about in a way identical with the Violin clef. The following examples will serve as practical illustrations:- 40 G major. Andante. R.Wagner. 12970-4415 =flf#= *r*r ^ r *cJ- r T t j J w\f j i j= n m M a —— J/ %J nir , i 'j . m . m— a—■—^ 0 •—■—ii----—^—*— -j-^ r~mm——^ 5- ¥ J i\ m* * *r ¥ 1 qr r r _j5>_•- 1 r r i |f i 1 r p j ir r y M r r' "T P —j)— f M. • mm Transposition of the above melody from G to F major may be brought about in the fol- lowing simple way:- instead 4*7. of F major. ^ j 1 1 11 11n etc. It is easy to see that only a change of clef is required in order to play the melody one tone lower. If the transposition is to be made for only one half-tone lower, the following change in signature will suffice:- 48. G\> major. J nig etc. If the melody is to be executed one half-tone higher the transposition will be brought about as follows iiU r 0 . H=l L f in 11 r r m i=y=l etc. etc. One whole tone higher than G major (A major) can be brought about by the following transposition 50. A major. - - - n ~ m etc. Furthermore, the following transpositions can be brought about through change of clefs:- One Fifth higher 51. D major. or m 53. E major. One minor third lower. 55. At major. One half-tone higher. or One Fourth lower. 52. I , Dl> major. bV|. J m 54. Et major. One major third lowrer. ini i-h. J J J = 56. A major. One whole tone higher. 12970-4416 The same proceeding can also be employed with compositions in the Tenor clef:- . Andante. sin E.l J. J^lrrf^ Verdi. Se= HP IP m x- m i rr ir r Transposed one tone higher: - 58. C major. m etc. One half-tone higher gives us B or C flat major: 59. B major. __^ 60. i or c\> major. i m etc. Through change of keys the following additional keys may be obtained:- D major. One major third higher. Is ■TJ ^ £ gg A major. One half tone lower. m gg E major. A diminished fifth_Iower. or m j' ILJhU, j rn i ' g - 11 major. One who rp I le ton< / -V V 3 lower. r p ii 00 El? m ajor. One fifth m i lower. —■— r-—— r g ii m 9 2—H— or The last two examples could also be imagined an octave higher, in which case the trans- position would come a fourth higher. In the following examples we will illustrate a few transpositions for those who are o bliged to read in the bass clef:- Meyerbeer. 67. Molto moderate*. 12970^44Through change of clef the following keys are obtained: 68. G minor. A major third lower. 69. F minor. Augmented fourth lower. jt_ P ________■ i dtirnfer / cj-i jt (To be imagined an octave lower.) likewise Fjf minor. ■ A minor. One tone lower. 71. E minor. _Q._ One fifth lower. If it were necessary to transpose this melody of Meyerbeer one half-tone lower, the sig- nature would simply have to be changed as follows Bb minor. -3TT- — ____________________ ____________________—_i_i_ii etc. 72. ¥ The principal and most important consideration in any kind of transposition is the key into which we wish to transpose, together with the necessary accidentals therefor, and it is the latter which the transposer must be absolutely sure and certain of; incessant daily practice is positively necessary to arrive at mastery in this exceptionally difficult accomp- lishment. CHAPTER IX. Special Remarks on Transposition for Clarinet Players. In case a Clarinet player should possess but one instrument, a Bk>, and should be asked to play a part written for a C Clarinet, he would have to transpose the part one tone higher, in doing which he must observe the following important point: The Bb Clarinet is pitched one whole tone lower than the C Clarinet, owing to which fact we are confronted with an entirely different tonal relationship, which is clearly demonstrated by the following table: - If a part for tha C Clarinet is written in either of the following keys:- The same part for a Bb Clarinet must be written as below: Consequently, as many flats as belong to the key of B flat (two) are to be deducted in the transposition for the Bb Clarinet, or for every flat a sharp (consequently two sharps) must be addeek If a part written for the Bb Clarinet were to be played upon a C Clarinet, it would have to be transposed one tone lower. In such a case the signature would receive two flats more; i.e., two sharps less. In order to execute an Eb Clarinet part upon a Bb Clarinet, it would have to be transposed a fourth higher; the signature receiving one flat more, or one sharp less, as illustrated in the following example Clarinet in Eb. Aiidante. ■ §* Gounod. I—n— r—W """"- jfpv m m 12970-4418 Considering the pitch of the instrument, we must picture or try to imagine the desired key to ourselves, and deduct the signature of the latter from that of the piece to be transposed, in order to arrive at the correct key for the transposition. For instance, a Clarinet or any other instrument pitched in Bt deducts the signature of B-flat major, two flats; the Clarinet in A deducts three sharps. If the signature of the piece to be transposed does not contain as many flats or sharps as are to be deducted, we add a sharp for every missing flat and a flat for every missing sharp. For instance; if 4 were to be re-written for the Eb Clarinet we would have to de- duct three flats; and as there are only two we substitute a sharp for the third one, therefore the —-Q til-' signature is this:- * Example 74, transposed for the Bl> Clarinet (B-flat against E-flat); E-flat deducts three flats, B-flat only two; consequently but one flat is to be added to our former example:- 75. r r■ r f? if r The A Clarinet is pitched one half-tone lower than the B-flat, and a minor third low- er than the C Clarinet. Consequently the notes of the two latter varieties must be played that much higher. In transposing a part naturally pitched in C, the performer on an A Clar- inet deducts three sharps from the signature, or adds three flats, as the case may demand. 76. are written thus for Bb Clarinet and thus for A Clarinet. «J Ik D.l ,» |B!> » • " 1 ff T" i* ^ • if "T r F C |lr. *""11—^ j_ L Al> _ - 1 L Dl> are written thus for Bb Clarinet and thus for A Clarinet. If a part written for a D Clarinet were to be played upon an A Clarinet, the transposition would have to be made in the same manner as illustrated in Ex.74; that is, a fourth higher. Explicit directions regarding how to practice transposing and how to apply these direc - tions in a practical way will be given later on, in a chapter especially devoted to this subject. 12970-44CHAPTER X. 19 Special Remarks on Transposition for Cornet Players. In this chapter we will deal chiefly with the transposition of Trumpet parts, which must frequently be played upon Cornets in our smaller organizations* and transposed at sight. It may not be out of place to mention here that the designation "Clarino" which is frequently found in old symphony parts does not refer to the Clarinet, but to the Trumpet. As the Cornets in general use are pitched in either C, Bb or A, while Trumpet parts , on the other hand, are met with every possible key, it will be necessary for the transposing Cornetist to choose such keys as will simplify the desired transposition to the greatest pos- sible extent. In this way the part for an E Trumpet would easily be transposed upon either a C or an A Cornet, as here shown:- E trimipet C Cornet A Cornet A major third higher. A fifth higher. Likewise the D Trumpet. 78. D Trumpet C Cornet A Cornet $ -e- A fourth higher. o It will be still easier to transpose F Trumpet parts upon the C or Bb Cornet, thus:- 79. F Trumpet C Cornet BV Cornet 3 ^ A fourth hierher. A fifth higher. ^-- *) The remarks as to the signatures and deducting of sharps and flats, as explained in a previous chapter, must also be observed here. 129f70-4420 Likewise the Eb Trumpet. 80. Eb Trumpet C Cornet A third higher A fourth higher. Bb Cornet We will now compare the Trumpet and the Cornet in a more detailed way, showing the ex- act nature of the Trumpets in various pitches, their range or compass, and how their parts may be interpreted by Cornets in the most effective and satisfactory manner. The Trumpet is furnished with seven crooks, by the use of which it may be pitched in either of the following keys at will:- A-flat, A, B-flat, B, C, D-flat,D, E-flat, E, F and G. The G crook is the smallest, and consequenty the highest in pitch. The notation for these dif- ferently-pitched Trumpets varies according to the particular crook employed. The compass of the Trumpet, as here shown, extends a few notes over three octaves a) 80 V2. i pp The low notes are used in writing for the high crooks, such as E, F and G:- b) $ The high notes are written for the low crooks, such as A,B, C, etc. c) l £ The D crook may also be written for in this manner:- d) i g=yi not used. As a sure point of reference for comparison, it is to be remembered that the Trumpet in Bb, A and Ab is in unison with the Cornet in Bb, A and Ab:- 81. Trumpet in Ab,AorBb Cornet in Ab, A or Bb $ i> IeJ: 4 On a G Cornet, for instance, the five crooks of G, B, Bb, A and Ab are in unison with the same crooks of the Trumpet. Apparently, this would obviate the necessity of transposition; but as these crooks are very rarely used on the Trumpet, and when they are used the sound pro- duced is rather dull and unsatisfactory, it is nearly always necessary to transpose. 12970-4421 The greatest similarity between the Cornet in B-flat or A and the Horn as regards lone is brought about by the D and E-flat crooks on the latter. The following example will give an idea of the keys and transpositions which may be used in playing Trumpet parts on the Cornet, when such occur in the Band or Orchestra 83. Orchestra or Band in C. Trumpet in C. Cornet if in C. Cornet in Bk & i j i j J w f w Some players prefer using the B|? crook, although the A crook is more desirable, the tone thus produced having more similarity to that of the Trumpet with G crook. P !■ l Orchestra or Band in Dk (fa ? IA- 83. k? Trumpet in Dk Cornet in Bk Cornet in Ak Ifl J j J * J=^=l I ^ , 1 ]=j=fcr= -—---w--- • iff - Cornet for use on a Bt Cornet. Orchestra or Band in 84. "V d. £ *8 Trumpet in D. Cornet in A generally used. Cornet in Bk p j j i J J ^ i 1, , | J r 'T , m 0- N=N J j J J=E=LJ J i J J r fe 1 I H^= Trumpet in D. Cornet in A generally used. Cornet in Bk 12970-4422 The foregoing example illustrates the transposition of a Cornet part written in A to Bk and vice-versa A- 85. Orchestra or Band in Ek Trumpet in Ek Cornet in Bk Cornet in A. Enharmonic. Identical fingering. $ £ J iti. ff %$= £ist Both difficult. ■ j iir r r r f f The foregoing example shows how a Bb Cornet part may be transposed for an A Cornet, and vice - versa. Orchestra or Band in E. 86. Trumpet in E. Cornet in A generally used. Cornet in Bk Enharmonic. Identical fingering. i j i J J #-^ i j . y r r f44= j v r r r M Both difficult. jj *Aiiit i j i J r 'ir r r TsUi 87. Orchestra or Band in F, • ^ Trumpet in F. Cornet in Bl> generally used. Cornet in A. not used. -m- i j i *1 [ not used.] IJ I f f >1 r^y ii | not used.) \ f f f f - 12970-4423 gg Orchestra or Band in G m | not used.| Trumpet in G. Cornet in A. Cornet in Bk 1 ■7-i | 1 J r f ....... |l!0 • y f f f 1 • t used. J \4=*=± 1 j J r i 1nc ■ if r f f )t used. £ gg Orchestra or Band in G | not used.| Trumpet in G. Cornet in A. Cornet in Bk With Cornet in G, same as the Trumpet, play an octave higher. 89. Orchestra or Band in Ab Trumpet in A!?. Cornet in A. Cornet in Bk ^4 i r br f f f The low F can be obtained with all three valves down, by opening the lips to the greatest possible extent; but it is an^artificial" tone. iHX- Orchestra or Band in B frg - \>4 Q ___________ | P Trumpet in B. Cornet in A. Trumpet in A. Cornet in Bk Trumpet in Bk 12970 - 4424 Extract from "Oberon" Overture Adagio. Trumpet in D. Cornet in A Cornet in Bk m $ i#£ yfe Extract from William Tell Overture. . All pcrrn Trumpet in E. Cornet in A. Cornet in Bk difficult;not good. A i p * J -t_n_ LH M p =S= v w w ft -#--—~- tft.lt a r 7 ^ *r P P rm ; —m- "rt[ 4 r ?=&£= r 7 i * J m -- . All pcrrn Trumpet in E. Cornet in A. Cornet in Bk difficult;not good. i—i m—-- m p r. > r\ -- —-- r> Extract from "Fra Diavolo" Overture. Trumpet in D. Cornet in A 12970 - 44 93. Jib , —F=^=l-1—1—h- • — ^ • 3=Ne i i % i1 r r u' r i r' J" i rrr j>l Trumpet in D. Cornet in A25 i mm H—H—fl-j \l i M 1 J 1 J p • p p p r r r j i j ^ P * I" P ■ 'ST J-J J J ^ i r r 1 —__f ^ j * if r e=t In Military Band, use Bb crook, and play as if written for Trumpet in Ek Commencement of "Tannhaeuser March" as first published for Orchestra. 94. Trumpet in B. Cornet in A. I FTP Extract from uLe Serment" Overture, (first time.) 95. £_ Trumpet in F. Cornet in B?. From the same Overture, (second time.) 96. Trumpet in C. Cornet in Bb. better for Cornet in A. 12970-4426 CHAPTER XI. Special Remarks on Transposition for Trumpet Players. a) The pitches and actual sound of the Trumpets. When considering the many varieties, of Trumpets in use at the present day, with a view to explanation of the proper transpositions for them, we find at the very outset that they must be divided into two classes, called for convenience High and Low Trumpets. The notation for these two classes of Trumpets will be found to differ by an octave. If, for example, the natural tone of a low Trumpet would be written t it would appear t'or a high Trumpet. as In order to become thoroughly acquainted with the exact pitches of all the different var- ieties of Trumpets, the student is earnestly advised to study the following example care- fully and repeatedly. Natural tones of various Trumpets. 97. High C. High Bk A. Ak G. F. E. Ek D. Low C. Low Bk 0 Correct sound: 0 ii i 0 IP i: il i i ♦J i i 12970-4427 b) The so-called "high" Trumpets, As will be seen from the foregoing table, the high C, Bt, A and At Trumpets are classed as the "high" Trumpets. The highest in pitch of these is the C Trumpet; then comes the Bt Trumpet, a whole tone lowTer, the A Trumpet, a half tone lower than the Bt, and the At Trumpet, a half tone lower still, and two tones lower than the C Trumpet. In order to produce the sound the following notes would have to be played upon these four varieties of Trumpets:- 98. Trumpet 4 i Correct sound C. Bt. in A. m At. From this we learn that any composition written for the C Trumpet must be performed as many intervals higher upon any of the other three as their respective pitch is lower than that of the C Trumpet. For the Bt Trumpet this is a whole tone(Bt-C); for the A Trumpet a min- or third (A-C), and for the At Trumpet a major third (At-C). In the opposite case a composition written for the At Trumpet must be performed low- er in the same degree, according to the intervals, when a C, Bt or A Trumpet is used. As an illustration the following example is given:- 99. -4- Trumpet in high C. in Bt. in A. m % 3E Ak til iT\ m il> 1 1 1 ft 'r J =J ir " i in A. The foregoing illustration will also serve to show the entire relationship of the"high" Trum- pets to each other. This relationship is the most distant (a major third) between the C and At Trumpets, while the C and A Trumpets are only separated by a minor third. The distance of a whole tone separates the C and Bt, also the Bt and At instruments; a half-tone only is found between the Bt and A and the A and At instruments. Consequently, the method of trans- posing between a C and a Bt is the same as between a Bt and At Trumpet. For instance 100. C Trumpet. Bt Trumpet, l Bt Trumpet A Trumpet '■$ * 0\ Bt Trumpet. £ & At Trumpet. m The remarks in chapter IX relative to signatures and accidentals must be carefully observed. 12970-4428 The student should now work out a table in which the tonal ranges of the several "high" Trumpets are compared. The following example will illustrate the beginning and the end of such a table 101. C Trumpet. Bt> m Trumpet, -i T 'f I V I f fr i^f *r fM ' 1 A Trumpet. A\> Trumpet. f I'f *f iV»r etc., descending to descending to descending to descending to 4t= i 11 c) The so-called "low" Trumpets. After the preceding remarks concerning the "high" Trumpets we can limit ourselves to a brief discussion of the"low" Trumpets and their distinctive characteristics of pitch. Counted from the highest of the family, their order of progression is as follows:- First the G Trum- pet, next, and one whole tone lower, the F Trumpet; a half-tone lower than this the E, an- other half-tone lower, the Eb, then another half-tone lower the D; a whole tone lower than this the low C, and another whole tone lower the low Bt> Trumpet. Q In order to produce the following sound:- | *J -J- the several "low" Trumpets must in- tone as follows :- Trum. F Trum. E Trum. El? Trum. D Trum. C Trum. B Trum. Written for the low Trumpets the choral used in Ex. 99 would appear as follows 103. G Trumpet. F Trumpet. E Trumpet. El? Trumpet. D Trumpet. Low C Trumpet. Low Bl> Trumpet. 12970 - 44 - T ....... -^- - 4^ Written for the low Trumpets the choral used in Ex. 99 would appear as follows 103. j u i J j u j 1 j li it * J J 1 J J. J ^ J J ' J29 As with the high Trumpets, the student should now work out a table of the low Trum - pets, according to Ex. 104, which shows the beginning and ending of the compass of each:- 104. G Trumpet. F Trumpet. E Trumpet. El? Trumpet, D Trumpet. Low C Trumpet Low Bt> Trumpet, •Ipm descending to 44i 0—• ■■ m U m MM MM E Trumpet. I r \ * ■ J f ft I 1 MM El? Trumpet, =#=*! F=*j F=fe -V#—— ITT 1 D Trumpet. f if From this table it will be an easy matter to ascertain how the various Trumpets compare as to their tonal differences, i. e., intervals. In order to simplify the student's work as much as possible, we will review the different varieties of Trumpets once more, grouping them according to a proportionate system of intervals. In this way we find the Trumpets in G _ Bk in the proportions of a major sixth; those in Gr.C and F. Bt> of a perfect fifth; those in E.Bk of an augmented fourth; those in G.D, F.C and ELBk of a perfect fourth; those in G.E, E.C and D.Bk of a major third; those in G_E, F_D and Eb.C of a minor third; those in G_F, F_ El>, E-D, D_C and C_ Bl> of a major second, and those in F.E, E-Ek and Ek_ D of a minor second. d) The high and low Trumpets, and their comparative relationship. We have already dwelt upon the peculiar system of notation which separates the Trum- pets into two distinct varieties. We will now endeavor to explain the comparative relation- ship of those varieties in as clear a manner as possible, in order that the student may not form a wrong idea of their real nature or character. As explained in previous sections (b and c) transposition among both the high and low Trumpets is brought about in such a way that, in order to perform a composition written for a low Trumpet upon a still lower one, every note must be played as much higher than it is written as the pitch of the Trum- pet in use is lower than that of the one for which the composition was originally written. If the notation is for a low pitched instrument and is to be executed upon a higher-pitched one, the opposite course must be adopted. '12970-4430 But if the notation is for a "high" Trumpet the case is altered. As the notation for the latter instruments is an octave lower than for the former, we must alter our methods, and blow lower tones; whereas in the opposite case, wThen using a "high" Trumpet and the no- tation is for a "low" one, we must always play higher tones. For instance, let us suppose that the note written for a high C Trumpet must he transposed for an F Trum- pet; supposing the notation for all Trumpets to be the same, this note must be played a % perfect fifth higher in order to produce the same sound; that is:- ~€T But in reality this is not the case, because this same note is written an octave lower for the <4lowr" Trumpets; consequently, in order to produce the correct sound upon the F Trumpet we must play In order to simplify this it will be advisable to imagine a melody written for a high Trumpet an octave low^er, before transposing it upon a low instrument, and then to go as many intervals higher as the Trumpet is pitched lower. Reversing this, when playing on a high Trumpet, we can imagine the notes written for the lower instrument to be an oct- ave higher, and then transpose them dowTn at the proper interval. As a practical illustration we append the Choral already used for other examples, as well as the beginning and end of a table to be prepared by the student, in which the no- tation of this melody is shown and prepared for the high C and G Trumpets. Owing to lack of space the illustration has been limited to these two varieties, and it will be left to the student to work out the remainder in the same fashion. 105. high C Trumpet. G Trumpet. high C Trumpet. G Trumpet. p 1 hT] i l,. —£-d- -J-J - Trumpet, also for those in other pitches. 12970-4431 Practical transposition with the instrument in hand should be done in this way: Let the student select some melody, imagine it to be written for C Trumpet, and proceed to transpose it at sight, the same as he did on paper before, imagining, in addition, that he is playing a Bb, A or Al> Trumpet. Or vice-versa, he may imagine him- self playing a C Trumpet, the melody being written for some one of the higher Trumpets. While practicing in this way, let the student advance a step in his writ- ten work, and select those melodies for transposition which contain many accidentals, or which modulate frequently into different keys; taking up thi same exercises later with instrument in hand. If the paragraphs relating to high Trumpets have been studied carefully and thor- oughly in this manner, those following, which relate to low Trumpets (c) will not of- fer so many difficulties, as their manner of treatment and study is exactly similar, with the exception that the more distant intervals must receive consideration, render- ing the most careful and constant study exceedingly necessary. In like manner the student will profit greatly through a review of (d), The high and low Trumpets and their comparative relationship; and, after careful study of the directions there given, he cannot fail to become thoroughly routined in the reading of the various styles of no- tation for both the high and low Trumpets, which, however, can only be mastered to per- fection through practical orchestra and band routine. It must not be forgotten that, in our endeavors to learn any certain thing, we must always advance gradually from easy to more difficult steps, from smaller to more ex- tended forms; and we should, therefore, be careful to select melodies for this sort of practice that move within a range of five notes if possible, and which, above all, are short. Afterward, but very gradually, more extended scale studies, then entire collect - ions of songs, exercises, etc., which are transcribed for Trumpet, and finally solo com- positions, concertos, variations, etc., should be taken up for transposition. In the general run of professional playing it will not be necessary to transpose all the intervals which we have so carefully explained, as in most cases the performer is provided with crooks, by means of which he can change the pitch of a Bb Trumpet in- to an A, Ab or C, or of an F into E, E\> or D. Although it cannot be denied that by changing the pitch of an instrument in this manner the purity of intonation is some- times marred to a considerable extent, still, a player can materially simplify his play- ing by changing the pitch of his instrument as indicated, particularly if he has thor - oughly mastered transposition in all the intervals. As the modern valve-Trumpets have been perfected to such an extent as to render them available in every possible key, many composers have fallen into the habit of writ- ing for Trumpets in only one pitch (in F, for example), irrespective of the key in which the composition itself may be written. In such cases a player can simplify many a passage which would be complicated on an F Trumpet, by using some other crook and making the necessary transposition. Or, if it should be necessary to transpose the parts for a Bt>Trum- pet, he might find it advisable to change the pitch of his instrument to A, when this pas- sage occurs, in order to lessen the difficulties contained therein. 12970-4432 CHAPTER XII. Special Directions Regarding Transposition for French Horn Players. Notwithstanding the written instructions of composers relative to the precise pitch of Horns which they wish employed in different compositions, Horn-players now-a-days sel- dom pay any attention to these instructions, as a rule transposing everything for the F Horn, which is the only variety in common use. This is not an easy thing to do by any means, and great practice is required in order to transpose with facility and correctness. The following example presents the different varieties of Horns, and also illustrates the sounds corresponding to their several pitches, when produced on the F Horn. 107. Low C Horn. Low Horn. Low B Horn A Horn. ■i i jii. Sounds on the F Horn. A fourth lower. r A perfect fifth lower. i — >■" - A minor fifth lower. i ap A major third higher.u 0 — 0 G Horn. P ^ A major second higher. E Horn. El? Horn. D Horn. Db Horn. Ab Horn. Gb Horn. t i 0 m A minor second lower. A major second lower. ►TT XT A minor third lower. y .......... W* — 4% o ■ -Vr-±——e—- A minor third lower. A major third lower. A minor third higher. A minor second higher, i 12970 - 443» The "high" bI?, B and C Horns sound an octave higher than "low" Horns bearing the same names. Some of these transpositions may be made on the valve Horn with extreme ease. By- pressing down the second valve, the Horn is lowered one half-tone in pitch, which affects the instrument in the same manner as if an E crook were used. 108. Open F Horn. Performed with the second valve held down it sounds like an E Horn:- 109. TT =S5=&' $ By pressing down the first valve the pitch of the Horn is lowered one whole tone, and sounds as if an Et crook were used:- 110. Open F Horn. ■ 'I j J-J ''c_r i'^ Played with the first valve down it sounds like an Eb Horn:- 111. ^_ Sound. El? Ho rn. i j. J. J "LItjJ 1 By pressing down the third valve the pitch of the Horn is lowered a minor third, and sounds as though the D crook were used. The same result would be obtained by using the first and second valves together. Played upon the third valve (or first and second) it will sound like a D Horn Sound 12970-4434 By pressing down the second and third valves together the Horn is flattened a major third, and sounds as though the Dl> crook were used. 114. F Horn. Played with the second and third valves it will sound like a Dl? Horn. 115. Sound. Db Horn. By pressing down the first and third valves together the pitch of the Horn is lowered a perfect fourth, and it sounds as though a C crook were used. F Horn. 116. ■ & r r Lj_^ j> I J j =53= Played with the first and third valves it will sound like a C Horn:- 117. Sound. C Horn. 4 f JTH 4 r •rTrj. m The following changes may he brought about through the use of the various clefs 118. p Horn. 119. A minor third higher. (To be imagined an octave higher than an At Horn.) .............................. A major third higher. (To be imagined an octave higher than an A Horn. _—- 1-, _I i—m . , _ , _ _ 0*. |_| _ P J m R -ri a R H Ed m B H H H 0 Eq I—f- -—-1- 1—1 IM U--2—A '-1 ■u ' U — Mr h«J- —L A major third higher. (To be imagined an octave higher than an A Horn. 121. A minor third lower. (Like D Horn.) 12970 - 4435 A tone higher. 122. (Like G Horn.) A half-tone lower. (Like E Horn.) 123, m c>r Or a tone lower. (Like Eb Horn.) etc. Careful study and much consideration should be given to the following* table, which il- lustrates the real tonal pitch of all the varieties of Horns 125. High B Horn. High B\> Horn. A Horn. At Horn. G Horn. Gt> Horn. F Horn. E Horn. El? Horn. D Horn. Db Horn. C Horn. Low B Horn. Low Bb Horn. IP # 0 IP Real sound: i iP i s TT ?TY TT 12970-443 6 Such low notes as the following:: 126. c g c b a g TT - - - ^ TV are written for the Horn in this manner: instead of: E2 tt tz: — that is, one octave lower. ^ TT ' -e- It has never been definitely ascertained where this freedom and variety in the notation for the Horns comes from; but Horn players have become accustomed to it, and feel more at ease with this style of notation than would be the case with some other, especially as the low bass notes of the instrument can be indicated in a most decisive manner. Although everything can be transposed upon the F Horn, yet I would advise the use of the G, A and crooks as frequently as possible; many a difficult passage may be simpli - fied, may be executed to better advantage, and will sound clearer with the original crook than if it is transposed for the F Horn; furthermore, when using these original crooks the player need not fear that his tones will not "speak',' nor will he be in constant dread of other accidents. Selected Horn passages from the works of old masters, showing the advantages of the differently pitched Horns. Instead of transposing them on the F Horn, the following examples are to be played according to their original indications. Extract from Beethoven's D major Symphony. Easy with the A crook. Beethoven. Transposed for F Horns this passage would present great difficulties, particularly to the first Horn, as here shown:- 128. Horns in F. l FT""?"™" ess Extract from Mozart's G minor Symphony. 129. Horns in G. Trio Menuetto. Easy with the G crook. Mozart. p\ i j , j i u r r r j j j i j ^ i ft i11 ft I cresc. J r r r 1 r 12970-4437 Exactly as in the abstract from Beethoven's Symphony (N? 127) this passage would be very difficult for the F Horns, particularly the first,as here shown:- 130. Horn,s in F, I i . II ,-J-4 , J .-J-r-0-4- m cresc. Extract from Mehul's "Jagd Overture'.' Easy for the A crook. 131. Horns in A. ^ m m Mehul J -hJ hi. JTj r pr p" r f 1 | -hJ J>|^: —J J) J J J. . .. I. ft r p' ' r~ it ;J 'r pr pIr r r p r* r'f As before, this passage would be very difficult for F Horns 132. Horns in F. ill? ns /r m f JJ ^,4: JT3 pr p" r J1'*1 j i)j 4= r pi' i111 f- :EqEf£ f Extract from Mendelssohn's A minor Symphony. Less difficult when played with the A crook 133. Horns in A. Allegro moderato. Mendelssohn. than when transposed for F Horn 134. Horns in F. iHi Wan jst "A g-E Pii f> v IT Extract from a Haydn Symphony (Andante.) Easy for the G crook. Horns in G. 135. .tt ^ ^ Largo i ■mM J. Haydn. PP 18970-4438 136 This extract would be very difficult to play if transposed for F Horns, as here shown Horns in F. qf * Largo. f Extract from Rossini's opera "William Tell!' Easy for the G crook. 137. Horns in G. Allegro. Rossini. $ Glf *011 L£j 01 iQjOl £ =¥=y= m V i JT? cH i ^ 011 & Gif1 w The following illustration shows how difficult this passage would be if transposed for F Horns. 138. Horns in F. m\ s m fr.. fr m #[t ft,. ft m mmm Lei 'LcJCx/ It sometimes happens that a Horn player is required to play a Cello, Viola or Trombone part, in case either of these instruments is missing in an orchestra and the part is an important one. Naturally, it is important that in such an event the Horn player should know howtotrans- pose any of these parts correctly and be capable of adapting them to his instrument. Under such conditions the Viola part would have to be transposed as if for a D crook on the F Horn.-- 139. Viola. (g \ f L/Lb 'r t £ etc. etc. r 140. F Horn. F. r num. _______ _ i j j i ip i r^i1 j ~1' t/ A Cello or Trombone part would be transposed as if for an Eb crook on the F Horn,but an octave lower.-- Cello or Trombone. 141. frrnr^ 4 m =0 142. F Horn The necessary accidentals (|f, t, tj) should always be borne in mind, and employed according to the individual key in which each part is written. In conclusion, it would be advisable for every Horn player to study the following works by Prof. H. Kling, as they contain a Wealth of excellent and valuable instructions, derived from long and practical experience 1) Horn Method for the Simple and Chromatic French Horn. 2) 25 Etudes and Preludes, together with practical instructions as to their use and study. 3) Prof. H. Kling's Modern Orchestration and Instrumentation. Special American Edition, revised and enlarged by the author, and translated from the original German edition by Gustav Saenger. Published by Carl Fischer, Cooper Square, New York City. 12970 -44CHAPTER XIII. 39 Special Remarks on Transposition for Tuba Players. With the exception of Flute, Oboe, Bassoon and Trombone, the parts of all the Wind Instru- ments are written in a great variety of ways, owing to their difference in pitch. While the parts for Clarinets, Horns, Trumpets and Cornets are transposed by our composers while writing them, this is not the case with the parts for the Tuba; according to the pitch of these instruments, which may be either in F, E flat or B flat, the players must transpose their parts while reading them. In France, Belgium and some parts of Swit- zerland this is not the case, a separate part being written for every differently-pitched Tuba, in the following manner:- 143. F Bass. iHP Sounds: 144. * BaSSVT 1 - .y .? v t -i »fr rf-0» -9 - * Sounds: iH & j-i 145. Bl? Bass. ■J j. J'irrrrr irir jiJ'fTftfr TY~ Sounds: TV From these examples it may be seen that, according to German notation, the F Tuba transposes a fifth higher, the Eb Tuba a sixth higher, and the B[> Tuba a ninth higher. It >vould of course be of greater advantage if all composers would adopt a uniform method of notation for these instruments, and would write them transposed, as they do their Clar- inet, Cornet, Horn and Trumpet parts; if this were the case performers would find it much easier to play upon the differently pitched instruments, and their parts could be written in easier keys, in the majority of cases. But, as this is not the case, Tuba players must a- dopt the prevailing custom, and transpose their own parts when necessary; in so doing the necessary accidentals and the signature of the indicated key must be kept well in mind,as also the instructions given in the preceding chapters, which in greater part will also apply to the transpositions necessary for these instruments. It may be well to state that in America the Basses are not considered as transposing instruments when their parts are written in the bass clef. For every instrument- Et,BBb, F or Bl?, the player must learn a new scale, and therefore transpositions are not necessary. 12970 - 4440 CHAPTER XIV. Special Remarks on Transposition for Yiolin Players. Containing practical rules and instructions for the transposition of Clarinet, Cornet or Trumpet parts on the Violin, or vice-versa. Nothing can be of greater value or importance to an orchestral violinist than a thorough knowledge of transposition. In addition to the creditable execution of his own part,he must be constantly on the alert to assist any of the other orchestral instruments, and it is one of the general rules of orchestral playing that the first violinist shall be the leader of all the instruments; wherever an instrument is lacking or fails to respond as it should, the first Violin is expected to be on hand, and to fill up the gap as b§st he can. The character and compass of the Yiolin render it impossible to use this instrument as a representative of anything written for any of the bass instruments, and therefore its aid is principally extended to such melodious instruments as the Flute, Oboe, Clarinet, Cornet and Trumpet. In order to be able to assist or to interpret the parts of any of these instruments at sight, it is of the greatest importance that a violinist should be able to read, understand and transpose their notation as perfectly as he does that of his own instrument. As the notation of the Flute and Oboe is identical with that of the Violin, no special directions regarding them will be ne- cessary. But the difference between the notation of the Violin and that of the Clarinets,Cornets and Trumpets is of such a nature as to demand careful study, and the following instructions are intended as a guide for Violin players while interpreting parts written for either of these other instruments. The instruments which a Violin player will be called upon most frequently to assist will be the B[? and A Clarinets, Cornets and Trumpets; and the following examples will illustrate a practical system of transposition for these instruments. 146. 0 ii PP W ¥ etc. The notes placed on the upper staff of Example 146, when played by the Bl> Cornet or Clarinet, will be found to have the same sound as the corresponding ones on the lower staff when played by a Violin, Flute or Oboe; i.e., the C played on the B\? Cornet, Trumpet or Clar- inet sounds exactly the same as the Bl> of the Violin, the D the same as its C, and so on. Notes play&l by the Cornet or Clarinet in A, as shown in Example 147, upper staff, will be found to sound the same as the notes on the lower staff when played by a Violin; i.e., the C of the Cornet, Trumpet or Clarinet in A sounds exactly the same as the A of the Violin, the D the same as its C, etc. 147. etc. 12970- 4441 It will be seen from this that any one wishing to play from a Violin part and in unison with that instrument must, if using a Bl? Cornet, Trumpet or Clarinet, read one note (or a major second) higher,* or, if using an A Cornet, Trumpet or Clarinet, read two notes (or a minor third) higher. The principal reason for the use of these several Bb and A instruments (Cornets, Clarinets, etc.,) is to facilitate execution by diminishing the number of flats or sharps which would oth- erwise be required,- consequently, if a melody is written in a "flat key" for the Violin, Bb in - struments are used; if it is written in a "sharp key" the other instruments must be in A. Parts written for Clarinets, Cornets or Trumpets in C require no transposition, as they are identical in pitch with the Violin. Practical illustrations of the above method of transposition will be found in the following ta- bles, (examples 148-149-150) ^vhich show all the different keys employed in our musical no- tation, together with their individual transpositions for Bb or A instruments. 148. If the Violin Melody: is written with it with 2\> with 31? with 41? with 5l> with 6 b with 7\> If the Violin Melody is written with 1# with 2 # with 3 jt with 4 with 5 with 6 |t with 7 jt .12970 - 44 take the Bb Cornet or Clarinet and transpose one note higher. J/ 11;(— Ji VIOLIN. COR. or CLAR. F major or D minor. Gmajor or Eminor. -M- •• m m FP or G or C or F or Bb or El? or Ab Bb Eb Ab Db or A " or D " orG - or C " or F or Bb " take the A Cornet or Clarinet and read two notes higher. jfm i Ml fH 5* VIOLIN. COR.or CLAR. Gmajor or Eminor. Bbmajor or Gminor. or B ' or F# ■ or C# or G|| or D$ or A$ G D E or D " or A " or E " or B " or F|t - or C$ "42 150. If the Violin melo dy is written in C ■wm _ With the A Cornejt : or Clarinet read : two notes higher. With the Bb instruments read one note higher. SERENADE. Moderato. 151. ^- F. Schubert. Voice. Piano. J"JJ> r Warm en-treat - ies, gently pleading, Through the night to thee, $ 511 pi H •-J/m- m »• > •» i ;5 -2_ £ Say, while all is calm and si - lent, Dear - est, come to Whisp'ring branch-es soft-Iy mur-mur me. 3 3 etc. In _ the moon-light clear, In_ the moon - light clear; etc. 12970 - 4443 153. D minor. F minor. D minor. F minor. i m 2 8 4 5 6 7 1 „ » o ! 2 3 4 5 6 7i -=-„-«-o-1«: AJl 1 2 3 4 5 6 7 r XX 3 4 5 6 7 1 Transposition of a song with Piano Accompaniment, (For particulars consult Chapters V- VIII.) 153. m cjp 1 p Warm en-treat - ies, gent-ly plead-ing, Through the night to 1 2>/3 §E UP ' -f thee. Say,while all is ffffF if 11 i i P calm and si - lent, Dear - est, come to me! mm §f w 12970-4444 p 'ih r i? if n j" p Whispring branch - es soft - ly mur - mur In the moon-light clear, In_ the moon - light clear; m etc. iff J *S*i As in all other transpositions, the principal consideration is to be perfectly sure as to the key into which we wish to transpose, and its respective signature. For example, if the above song wrere to be transposed a minor third lowTer from the original (D minor) we wrould arrive at B minor, the signature of which is two sharps; a major third lower would bring us to B flat minor, with five flats, etc. In this especial case wre could simplify matters to a great extent by imagining the notes of the left hand as though written in the treble clef, but played two octaves lowrer. In transposing chords it is important to change them as a whole, and not by transposing the individual intervals, which proceeding would prove very annoying and troublesome for sight-reading. Therefore, aside from the thorough knowledge of the chords and harmony in general, which is necessary for fluent transposition, the latter accomplishment is a most excellent means for every pianist to become thoroughly acquainted with every possible use and position of the chords, and which, in turn, will again aid him in other branches (modulation,etc.) Con- tinued practice in written as well as practical transposition at the instrument is more nec- essary for a pianist than for any other instrumentalist, as the latter in most cases is obliged to transpose only one tone at a time, while the pianist is obliged to transpose complete chords, melodies, passage-work etc., of every description. In conclusion let us remark once more, that for the beginning only very easy pieces (such as hymns, songs, etc.), should be taken up, while the transposition of more difficult works should only be attempted gradually. -- 12970-44This book is a preservation facsimile produced for the University of Illinois, Urbana-Champaign. It is made in compliance with copyright law and produced on acid-free archival 60# book weight paper which meets the requirements of ANSI/NISO Z39.48-1992 (permanence of paper). Preservation facsimile printing and binding by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2015