Transposing at sight means being able to read a part written in one key while playing it in another key. To turn a B flat part into an E flat part (B flat to E flat = down a perfect fifth), transpose the part up a perfect fifth.ĭo the correct transposition by interval, including changing the written key by the correct interval. To turn a B flat part into a C part (B flat to C = up one step), transpose the part down one whole step. To compensate properly, always transpose by moving in the opposite direction from the change in the part names. This may seem counterintuitive, but remember, you are basically compensating for the transposition that is "built into" the instrument. If you have a C part and want it to become a B flat part, for example, you must transpose up one whole step. Make sure you are transposing in the correct direction. The difference between an E flat part and a B flat part is a perfect fifth. For example, the difference between a C and a B flat part is one whole step. The written key signature has nothing to do with the type of part you have only the part's transposition from concert pitch (C part) matters for this step.įind the interval between the two types of part.
Without the sharps, it is a different pattern and, therefore, not a Major scale.To Decide Transpositions for Transposing InstrumentsĪsk: what type of part am I transposing and what type of part do I want? Do you have a C part and want to turn it into an F part? Do you want to turn a B flat part into a C part? Non-transposing parts are considered to be C parts. This image shows that the key of D Major follows this same pattern. Notice that the pattern changes, which means that this is no longer a Major scale. Here's what it would look like without the B flatted. The B is flatted so that the scale follows the same W W H W W W H pattern. The key of F, for example, has 1 flat (B flat). The key of C has no sharps or flats because it naturally follows this pattern. In the last lesson, we discussed that the W W H W W W H step pattern is the same for all major keys. Whole & Half Step Pattern in a Major Scale Let's discuss what all of these key signatures have in common. This little trick will help you quickly determine the name of the key signature when there are multiple sharps or flats in the key signature, but you may have noticed that this trick doesn't work for the key of F or the key of C. In this case, there is already a C# in the key signature, so this key is the key of C#. The quicker way to determine this is to look at the sharps already in the key signature.
This means that half step above B# is C#. Remember that there is a naturally occurring half step between B and C, which means B# is the same pitch as C. Why? The last sharp in this key signature is B#. It is not the key of E# because there is no E# in this key signature.
This is the key of E because E is half step above D#, which is the last sharp in the key signature. This is the key of G because F# is the last sharp in the key signature. Sharpsįor key signatures with sharps, the key signature is the note name half step above the last sharp. It is not the key of D because there is a D flat in the key. This is the key of D flat because D flat is the second to last flat in the key signature. This is the key of E flat because E flat is the second to last flat in the key signature. Here is a list of all of the different key signatures:įor key signatures with flats, the key signature is the second to last flat.
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