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Transposition: Not a Four-Letter Word

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Transposition: Not a Four-Letter Word TRANSPOSITION: NOT A FOUR-LETTER WORD Kenneth Grinnell, FAGO Why learn this advanced technique in this day and age of transposer dials on so many Exam Requirement Preparation Interval instruments? No less a composer than Irving S2 Your choice of any one hymn In advance, up to nine Up/Down Berlin had a movable piano keyboard that from the Examination Hymn months; possible to begin M2nd, m2nd could mechanically shift from side to side in Booklet. May not play in the practice in July and take order to move the key up and down. It was original key for test. Pedal not the exam the following an analog version of today’s digital devices. required. Two of four possible April. This is not to say that these technological intervals chosen by proctor. aids have no value for us or for the composer, but that they are not a replacement for our C7 One original example given. May During 20-minute Up/Down own skill. not play in the original key for preparation time at the M2nd, m2nd Four of the five Guild Examinations in- test. Pedal not required. Two of piano. clude a transposition requirement at the key- four possible intervals specified. board: Service Playing, Colleague, Associate, and Fellow levels. Here is a table illustrating A3 One original example given. May One minute scan. Up/Down how the challenge increases with each level play in original key first. Pedal M2nd, m2nd of examination: optional. Two of four possible Our need to transpose is not just for the intervals specified. purpose of satisfying a requirement on a F5 One original example given. May One minute scan. Up/Down as Guild examination. Indeed, it is not just a not play in original key first. far as M3rd, stunt for purposes of display. Transposition, Pedal optional. Two of eight m3rd like other techniques, should be part of our possible intervals specified. total musicianship. It says something that the Guild exams require the acquisition of this skill to some degree depending on the Methods of Transposition major. A cadence on the dominant (V, or an level of difficulty of the test. It is important E-major chord) will mean seeing a D-sharp that the examinations reinforce the need for I. Reading note-for-note: The simplest kind of transposition involves imagining a new appear as an accidental (V/V, or a B-major this important skill in order that we may add chord). Now, let’s say you’re transposing beauty to our service playing. key signature to move the passage up or down a half or whole step. down to A-flat major. Be prepared to trans- Here are a few ideas suggesting why the late the old D-sharp into a new D-natural. technique of transposition is important for us: Let’s consider the key of C. Going up a half step may mean thinking the passage in C- The new V/V, or B-flat chord, contains that D-natural, which moves the harmony to V, 1. When altering the key of a hymn to make sharp or D-flat. Going down a half step may mean thinking the passage in C-flat or B-nat- an E-flat chord. (See also Section VI. Har- the hymn more comfortable for our con- monic Analysis, Hint #2.) gregation to sing. Usually this means ural. The note-for-note method would call moving it down a half step or a whole for C-sharp going up and C-flat going down. II. Using G, F, and C clefs to move the pitches step. You need to choose which of the two enhar- up or down: This is probably the least useful 2. When changing keys from one hymn monic keys to use. This example is a tough method for most of us in most cases. Sym- verse to another (modulation). The hymn one, as we don’t use those keys very often. phony conductors need to be fluent in all needs to be reproduced in the new key. Developing some degree of fluency in these clefs in order to accurately read the notes for 3. When working with choirs, moving the odd keys, though, may not be a bad thing! all of the instruments in the orchestra. Most pitch of a piece to change the vocal color Let’s choose a key that’s a little more “user- of us only work in the G treble and F bass of the music. Moving up from G major to friendly,” such as A major. Moving up a half clefs. Some of us might have a useful knowl- A-flat or A, for example, can make a lively step will mean a choice of either B-flat or A- edge of the alto and tenor C clefs if we are piece have a special “ring” to it. Likewise, sharp. Moving down will mean either A-flat also violists, cellists, or trombonists. Few of a move down to G-flat or F may render a or G-sharp. A-flat will be your easier, note- us would have any need for a fluency in the quiet or reflective piece yet more somber. for-note choice when going down a half step. soprano or mezzo-soprano C clefs or the bari- Even if the piece is to be sung a cappella, Try experimenting with all twelve major tone F clef. It is possible, though, to let sub- the rehearsal pianist or organist (you) will keys and discover the useful note-for-note stitutions of the different clefs transpose our need to play the correct pitches at some possibilities. This technique can quickly be- music. For the sake of information and un- stage in teaching the piece to the choir. come a useful part of your arsenal. derstanding, let’s see how transposition with 4. When times arise where the tenor or so- A helpful hint: Scan the example you’re clefs works. Perhaps this knowledge can be- prano section in the choir has suffered transposing for accidentals that need to be come a component in your acquisition of loss of personnel or the whole group is a accounted for in the new key. Let’s say, for skill in transposition. bit on the tired side and needs a break. example, that your original passage is in A The seven clefs that concern us are: Dropping the pitch of the anthem may Ex. 1 give the singers the help they need on that particular day. 5. Transposition during improvisation. In this case transposition may not only mean changing the melodies and harmonies to another key, but making a mode shift from major to minor or vice versa. The seven clefs will change the line or on the line or space on the staff and the note space on which a note appears. For our pur- name. Using C as an example, let’s see where Playing the organ literature requires a par- poses here, we won’t be concerned with the it would fall in each of these seven cases. ticular discipline. Other advanced tech- octave position of the notes, just the location niques require regular and disciplined prac- tice in order for them to become part of your Ex. 2 “tool kit” and help make your musicianship complete. Let’s take a look at some ways to approach this musical challenge and try to demystify the technique of transposition. 82 THE AMERICAN ORGANIST Notice that C now has a position on each we can pair these clefs to move both hands VII. Following the voice leading: This tech- line or space of the staff, as dictated by the up or down, beginning on C as an example: nique is useful in our practice of contrapun- clef. The next musical example shows how tal literature in any case, whether or not we wish to transpose. Listen to the horizontal Ex. 3 movement of each voice. Imagine that you are a soprano, alto, tenor, or bass, each in turn, and sing along with each line to put it into your aural memory. Refer back to Ex. 4 and notice how the alto line in the last two measures makes a descending scale pattern. Transposing each note in turn may not be necessary as following the voice leading makes the notes evident in the new key. Hint: hear the soprano and bass lines to- gether. You will then have another type of framework available on the upper and lower edges. Filling in the voices/harmonies in be- tween them then becomes easier. These clef substitutions will work begin- sound. The reverse process is dictation: we ning on any tonic note and moving up or take the sounds we hear and convert them to down the desired interval. Now, without flu- notes on the page. If our ears are aware of the VIII. Suggestions for practice: ency in all the clefs it may seem that this in- pitches in the old key, it will help us convert a. Set aside some time in each practice ses- formation may be interesting but not practi- them to the new key. Once again, success in sion for work on the technique of trans- cal. But wait! Let’s make a case for the this method will depend on the neurological position. Do it early in the time you soprano and baritone clefs when transposing wiring of the player in hearing the change. have available as your concentration up or down major or minor thirds. To be Caution: this method may be difficult for will be sharpest then.
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