Transpositions to trumpet in B, G and A-flat are extremely rare, so if you have limited time to practice transposition, focus on the others.Transpositions of up a P4 may be played as bass clef up a step and adding one flat to the key signature. Transpositions up a 3rd may be accomplished by reading the line as bass clef and applying the appropriate key signature (add 3 flats when transposing up a m3 and 4 sharps when transposing up a M3).That will be down a m3 from B-flat trumpet, or down a P4 from the C trumpet. If a part is designated Cornet in G (German: Ventil-Kornett in G, French: Cornet-a-Pistons en Sol, Italian: Cornetto in Sol,) the transposition is down to G.From B-flat trumpet the transposition is down a P4, from C trumpet down a P5. The term alta means down to F instead of up. 1, for example,) the transposition to F-alta appears. In the chart below are the transpositions encountered in orchestral music in the various languages, and the transposition intervals from either B-flat or C trumpets. The desire for a particular tone quality, better dynamic projection, more accessible high or low register, or even the opportunity to play in an easier key signature are some of the factors that we might use in determining which trumpet to use: B-flat, C, D, E-flat, cornet, flugelhorn or piccolo. As orchestra members, we rarely play a piece that does not require us to transpose, either because we don’t own a trumpet in the specified key, or because we choose to play on a trumpet other than the one specified. Transposition is an inherent part of being a trumpet player.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |