Understanding Basic Music Theory - Catherine Schmidt-Jones [93]
Now rewrite the music, changing all the notes by the correct interval. You can do this for all the notes in the key signature simply by counting lines and spaces. As long as your key signature is correct, you do not have to worry about whether an interval is major, minor, or perfect.
Figure 6.16. Move all the Notes
Did you move the key down a minor third? Simply move all the notes down a third in the new key; count down three lines-or-spaces to find the new spot for each note. Did you move the key up a perfect fourth? Then move all the notes up four lines-and-spaces. Remember to count every line and every space, including the ones the notes start on and end on. Once you get the hang of it, this step is very straightforward, but it may take a while if you have a lot of music.
Step 4: Be Careful with Accidentals
Most notes can simply be moved the correct number of lines and spaces. Whether the interval is minor, major, or perfect will take care of itself if the correct key signature has been chosen. But some care must be taken to correctly transpose accidentals. Put the note on the line or space where it would fall if it were not an accidental, and then either lower or raise it from your new key signature. For example, an accidental B natural in the key of E flat major has been raised a half step from the note in the key (which is B flat). In transposing down to the key of D major, you need to raise the A natural in the key up a half step, to A sharp. If this is confusing, keep in mind that the interval between the old and new (transposed) notes (B natural and A sharp) must be one half step, just as it is for the notes in the key.
Note
If you need to raise a note which is already sharp in the key, or lower a note that is already flat, use double sharps or double flats.
Figure 6.17. Transposing Accidentals
Flats don't necessarily transpose as flats, or sharps as sharps. For example, if the accidental originally raised the note one half step out of the key, by turning a flat note into a natural, the new accidental may raise the note one half step out of the key by turning a natural into a sharp.
Exercise 6.4.1. (Go to Solution)
The best practice for transposing is to transpose a piece you know well into a new key.
Choosing Your New Key
Before you can begin transposing, you must decide what your new key will be. This will depend on why you are transposing, and what kinds of vocalists and instrumentalists you are working with.
Working with Vocalists
If you are trying to accomodate singers, your main concern in choosing a key is finding their range. Is the music you are working with too high or too low? Is it only a step too high, or does it need to be changed by a third or a fifth? Once you determine the interval needed, check to make certain this will be a comfortable key for your instrumentalists.
Example 6.1.
A church choir director wants to encourage the congregation to join in on a particular hymn. It is written in four parts with the melody in the soprano part, in a range slightly too high for untrained singers. The hymn is written in the key of E flat. Lowering it by a minor third (one and a half steps) will allow the congregation to sing with gusto.
Figure 6.18.
The hymn is originally in E flat. The melody that goes up to an F is too high for most untrained vocalists (male and female).
Figure 6.19.
The same hymn in C is more easily singable by a congregation.
Example 6.2.
An alto vocalist would like to perform a blues standard originally sung by a soprano or tenor in B flat. She needs the song to be at least a whole step lower. Lowering it by a whole step would put it in the key of A flat. The guitar, bass, and harmonica players don't like to play in A flat, however, and the vocalist wouldn't mind singing even lower. So the best solution is to lower it by a minor third, and play in the key of G.
Figure 6.20.
(a) The key of this blues standard is comfortable for a soprano or tenor, as shown in this excerpt.
(b) An alto or baritone can deliver a