Selasa, 27 Desember 2011

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Musical Instruments
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instruments and their range

Key, colour and orchestration

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Key, colour and orchestration

I asked a pianist to play C. I asked an alto saxophonist to play C. They played different notes.
Why?
The piano is pitched to C. The alto saxophone is pitched to Eb.
Why?
An orchestra with instruments pitched in different keys provides more opportunities for colour in the orchestration.
So how do we define C? C is the easiest key for any instrument to play in. C# and Cb are the most difficult. The more sharps or flats in the key signature the more difficult the piece is to play.
NB: When the piano is in the key of E (4 sharps) alto saxophone is in the key of C# (seven sharps) so E is not a good key for a piano and alto saxophone duet.
Let's hear this melody played by a variety of instruments.
MIDI MIDI MIDI
Piano
Concert pitch
Eb Alto saxophone
a diatonic 6th lower
Bb Trumpet
a tone lower
An absolute identifier of pitch is Concert Pitch. At the instruction to play “Concert C” all instruments play the same sound.


Music Theory


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"Become an arranger first, then an orchestrator, and then a composer." - Joe Paparone

Joe Paparone is an Australian music arranger of the highest international calibre. Allow him to share 35 years of real world experiences with you.

Good keys / Bad keys

Good keys / Bad keys

Transposing instruments give us more scope for colour in the orchestration.
Some keys don't get much colour out of the orchestra.
On every instrument C is the easiest key to play in. The more sharps and flats in the key the more difficult the piece is to play.
Some keys are just plain difficult to play in.
  • The best keys are: Eb, Bb and F concert.
  • Secondary keys are: G, C and D concert.
  • Notably bad keys are: A and E concert.
A and E concert are strange keys to the orchestra. Colourful pedal notes allude you when you use these keys. The keys are also out of favour with transposing instruments. E concert transposes Eb instruments to six sharps and Bb instruments to seven sharps. Just a semitone higher than E, Eb concert is a wonderful key for colour, transposes Eb instruments to C and Bb instruments to F.
Avoid keys that put instruments playing sharps alongside instruments playing flats. In this syllabus we talk of F# and Gb as the same note. This is true for tempered instruments like the piano. For instruments in the violin and brass families where the note is felt for, F# and Gb are subtly different.
Concert Key C G D A E B F# C#
Transposing instruments Bb
Eb
F
G
D
A
G
F
A
E
D
C
E
B
A
G
B
F#
E
D
F#
C#
B
A
C#
Ab
F#
E
Ab
Eb
C#
B
Eb
Bb
Ab
F#
Good or Bad ?                

Concert Key C F Bb Eb Ab Db Gb Cb
Transposing instruments Bb
Eb
F
G
D
A
G
F
G
D
C
Bb
C
G
F
Eb
F
C
Bb
Ab
Bb
F
Eb
Db
Eb
Bb
Ab
Gb
Ab
Eb
Db
Cb
Db
Ab
Gb
E
Good or Bad ?                

The best accidental

The best accidental

Should I write F# or Gb? It depends on the context. Here are some guidelines.

In a melody

stick to the key signature where you can. Accidentals should deviate no more than a semitone from the key signature. If F# is in the key signature you can write Fx (double sharp) or F (natural) but not Fb.
Have a good excuse ready before you write a double flat or double sharp. G is almost always preferable to Fx. Use Fx in preference to G only when G# is prevalent in the melody, or you have some other good excuse.
Lean towards principal note names. Rare names like B# and Fb should be used only when there are four or more sharps (for B#) or four or more flats (for Fb) in the key signature.

In a chromatic run

run up in sharps and down in flats.

In a scale

write your accidentals so the musician recognises the scale.

In a chord

write the chord so the player will recognise it.
Give chords to players that use chords (guitarists, pianists and soloists). Don't worry instrumentalists with chords if they won't be needing them.
Guitarists and pianists map their physical position to the chord. When they recognise the chord they relax to it. Give them the chord and you give them the freedom to improvise (unless “Strict” is written or implied).


Music Theory


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"Become an arranger first, then an orchestrator, and then a composer." - Joe Paparone

Joe Paparone is an Australian music arranger of the highest international calibre. Allow him to share 35 years of real world experiences with you.




The score

The score is read by the conductor. All notes played by all instruments are in the score.
Let's illustrate with Joe Paparone's arrangement of The Barber of Seville Overture.
Time reads from left to right.

Concert Score

MIDI“The Barber of Seville Overture” by Rossini
Arranged by Joe Paparone 1998
Concert Score excerpt
MIDI
MIDI
MIDI
This is a concert score.
The key signature is the same for each instrument.

Transposed Score

Each instrument is written to its key.
  • Trombones are in the key of E.
  • Trumpets in the key of F#.
  • French Horns are in the key of B.
There is no difference in sound between the concert and transposed scores. In the concert score the focus is on concert pitch, the universal sound. In the transposed score the focus is on the language of the player, the parts are written as the player reads them.
“The Barber of Seville Overture” by Rossini
Arranged by Joe Paparone 1998
Transposed Score excerpt

Woodwind instruments

MIDI“The Barber of Seville Overture” by Rossini
Arranged by Joe Paparone 1998
Concert Score excerpt
Many woodwind instruments are transposing.
Bb clarinet is transposed up a tone.
You must be careful of the clef. Clarinetists read treble clef. It is bad form to give them music in any other clef. So Bb bass clarinet is transposed up a tone for the key and an octave for the clef.
“The Barber of Seville Overture” by Rossini
Arranged by Joe Paparone 1998
Transposed Score excerpt

Strings

The string instruments in this syllabus are non transposing: harp, violin, viola, cello and double bass. Concert and transposed scores for these string instruments are the same.
Contrabass (double bass) is a special case. Contrabass is a deep instrument, so deep its best sounding range is well under the bass clef. We write contrabass an octave higher than it sounds so it may be read comfortably on the bass clef. When contrabass and celli read the same note they sound an octave apart. Have a listen to the MIDI files.
MIDI“The Barber of Seville Overture” by Rossini
Arranged by Joe Paparone 1998
Concert / Transposed Score excerpt

An octave higher or lower than written

Following is the piano keyboard and its relation to the treble and bass clefs. It is easy to see from this diagram how many notes at the heights and depths of music are not covered by the clefs.
Some instruments are naturally very high or very low. The glockenspiel pitch is much higher than the treble clef. It is written on the treble clef, two octaves under its actual sound. Electric bass and contrabass are deeper than the bass clef. They are written an octave higher than they sound.
You may like to browse our Musical Instruments Reference.

Hybrid Concert / Transposed score

This appears to be a concert score. Looks can be deceptive.
French horn is written in the concert key signature but not in the concert key. In this score French horn notes are transposed a diatonic 5th higher than concert without changing the key signature.
For now the tasks involved in understanding a score may seem incredibly complex, but in time you will get a feel for the instrument's keys and pitch.
Being able to tell whether notes are concert or transposed, irregardless of the key signature, is something you will pick up as you learn about chords, progressions and other music theory fundamentals. 



Transposition

These instruments play in a different key to the piano. They are transposing instruments.
  • Bb trumpet
  • French horn (F)
  • Alto saxophone (Eb)
  • Tenor saxophone (Bb)
  • Cor anglais (F)
  • Bb clarinet
Before you can write for a transposing instrument you need to know
  • its key
  • any octave shifts in the transposition
  • the clef the player is expected to read.
You can look this information up in the Musical Instruments Reference. You can read more about transposition underneath.

Transposition, a simple example

Bb Trumpet part Concert pitch
Excerpt from Figlio Del Capo, arranged and composed by Joe Paparone
Bb trumpet transposes a tone above concert.
  1. Transpose the key signature a tone above concert.
    Eb concert transposes up to F.

  2. Transpose each note up a tone.
    C concert transposes up to D.
    D concert transposes up to E.
    Eb concert transposes up to F.
As an aid, write the diatonic scale of the concert key above the diatonic scale of the transposed key. The top row of notes transposes to the bottom row.
Concert key Eb F G A Bb C D Eb
Transposes up to F G A Bb C D E F

Bb trumpet part transposed

Transposition, a more complex example

What happens when some notes deviate from the key signature?
Bb Trumpet part Concert
Excerpt from Figlio Del Capo, arranged and composed by Joe Paparone
Write the diatonic scale of the concert key above the diatonic scale of the transposed key.
Concert key Eb F G A Bb C D Eb
Transposes up to F G A Bb C D E F
Each note transposes up a tone. B natural is not in the diatonic scale of the concert key. B natural transposes up a tone to C#.
Tip: If a note is altered from the key signature in the concert key it will also be altered from the key signature in the transposed key.
Bb trumpet part transposed

Transposition for a baritone saxophone

The baritone saxophone is scored in bass clef. It is transposed up a diatonic 13th (diatonic 6th and an octave) to the treble clef.
Eb Baritone saxophone part concert
Excerpt from Giacca di Feru composed and arranged by Joe Paparone
The concert key is C. It transposes a diatonic sixth up to A.
Concert key C D E F G A B C
Transposes up to A B C# D E F# G# A
Remember to write it an octave higher ...
... and put it in treble clef. Transposition is complete.