Understanding Basic Music Theory - Catherine Schmidt-Jones [97]
Using the chromatic circle to count keys, change the note names in all of the chords by the same amount (the same number of half steps, or places in the chromatic circle) and in the same direction. Change only the note names (things like "F" and "C sharp" and "B flat"); don't change any other information about the chord (like major, minor, dim., 7, sus4, add11, etc.). If the bass note of the chord is written out as a note name, change that, also (using the same chromatic circle).
Check your transposition by playing it to see if it sounds right. If you don't like playing some of the chords in your new key, or if you have changed the key too much or not enough, try a different transposition.
Example 6.6.
Say you have a song in the key of G, which is too low for your voice. If it's just a little too low, you can go up two keys to A. If this is still too low, you can go up even further (5 keys altogether) to the key of C. Maybe that's high enough for your voice, but you no longer like the chords. If that is the case, you can go up two more keys to D. Notice that, because the keys are arranged in a circle, going up seven keys like this is the same as going down five keys.
Figure 6.28.
Example 6.7.
Now say you have a song in the key of E flat. It's not hard to sing in that key, so you don't want to go far, but you really don't like playing in E flat. You can move the song up one key to E, but you might like the chords even better if you move them down one key to D. Notice that if you are a guitar player, and everyone else really wants to stay in E flat, you can write the chords out in D and play them with a capo on the first fret; to everyone else it will sound as if you're playing in E flat.
Figure 6.29.
Exercise 6.4.5. (Go to Solution)
Now say that you have a song that is in B flat, which is more than a little (more than one key) too high for you. Find a key a bit lower that still has nice, easy-to-play chords for guitar.
Figure 6.30.
Solutions to Exercises
Solution to Exercise 6.4.1. (Return to Exercise)
Play the part you have transposed; your own ears will tell you where you have made mistakes.
Solution to Exercise 6.4.2. (Return to Exercise)
Transposing up a major third, to E minor, puts the song in a better range for a soprano, with a key signature that is easy for guitars.
Figure 6.31.
Moving tune up to E minor puts it in a better key for sopranos.
Solution to Exercise 6.4.3. (Return to Exercise)
The trombone part is in C in bass clef; the horn players are used to reading parts in F in treble clef. Transpose the notes up a perfect fifth and write the new part in treble clef.
Figure 6.32.
(a) This is the same part transposed up a fifth so that it is in F
(b) Now write it in treble clef to make it easy for horn players to read.
Solution to Exercise 6.4.4. (Return to Exercise)
Put the capo on the first fret to raise the sound by one half step. Then transpose the chords down one half step. You will be playing in G, a nice strong key for guitar, but sounding in A flat. For more on transposing chords, see Transposing Chord Names
Figure 6.33.
Giving guitarists the option of playing in G major (with a capo) can make things easier.
Solution to Exercise 6.4.5. (Return to Exercise)
The best solution here is probably to put the song in the key of G. This is three keys lower, and has easy chords.
Figure 6.34.
Appendix A. Attributions
Collection: Understanding Basic Music Theory
Edited by: Catherine Schmidt-Jones
URL: http://cnx.org/content/col10363/1.3/
Copyright: Catherine Schmidt-Jones
License: http://creativecommons.org/licenses/by/2.0/
Module: Understanding Basic Music Theory: Course Introduction
By: Catherine Schmidt-Jones
URL: http://cnx.org/content/m13685/1.7/
Copyright: Catherine Schmidt-Jones
License: http://creativecommons.org/licenses/by/2.0/
Module: The Staff
By: Catherine Schmidt-Jones
URL: http://cnx.org/content/m10880/2.12/
Copyright: Catherine Schmidt-Jones
License: http://creativecommons.org/licenses/by/3.0/