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Re: transpositions

To: brass-band@xxxxxxxxxxxxxxxxxx
Subject: Re: transpositions
From: Ed Forner <FORNER@xxxxxxxxxxxxxx>
Date: Fri, 14 Feb 1997 16:16:23 -0600 (CST)
In-reply-to: "Your message dated Fri, 14 Feb 1997 14:38:10 +1100" <v01510101af298bb76c9d@[149.171.153.153]>
Priority: low
Reply-to: brass-band@xxxxxxxxxxxxxxxxxx

> Les McCormack and others were discussing transposition:
> 
> >> Transposing is a major trauma for most french horn players.
> >
> >That's not my experience. For older music in particular
> >French Horn parts are often written in keys other than F. E flat and D
> >parts are common (Classical stuff) as are parts written in E, C, G and
> >A (Romantic stuff).

you must also add B and B-flat (high and low) and C (high and low). Point is
that for band, F can muddle through, but orchestral parts require all the other
keys. It cannot be gotten around unless *all* publishers agree to reprint all
horn parts for 17th, 18th and 19th century works. This is, of course, not going
to happen. It is too bad, really, since the historical necessity is long since
gone. However, traumatic or not it must be...horn players cannot live in
orchestral work without being able to transpose fluently, and in all keys.

> Maybe we should teach our young players to read in one key as a matter of
> course.  

It is not a pedogogical question, but one of practical necessity.

As Les pointed out, French Horn players are expected to read in
> several keys, and all the french horn tutors I've looked at (well, all 2 of
> them) have sections on transposition.

If you investigate more, you will find that virtually all have this.

> It's different when you are older (where have all the grey cells gone?) and
> trying to alter a habit of many years standing.

I think you will find that at the beginning the process is slow, but as you
become more familiar with it, things get much easier very quickly. A systematic
approach is best, I think. That is, don't wait for a part to come up, but
incorporate regular work in transposition into your practice routines, starting
with the most common "other" keys. (E, E-flat, D and low C). Later, B-flat
(low), G and B natural. The high C is rather a special one, mostly for the 17th
c. descant parts. I believe there is a rare need for D descant, but I am not
sure of this.

best

========================================================================
	Ed Forner			Macalester College
	Music Department		St. Paul, Minnesota 55105
				  ***
	e-mail: forner@xxxxxxxxxxxxxx	voice/v-mail: 612 696 6189
			   Fax 612 696 6785
========================================================================


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References:
- Re: transpositions
  - From: Jack Alexander

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