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Re: transpositions



1. Sorry, I just realised an error in my earlier submission:


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

Should have been "...teach our young players to read in MORE THAN one key
>> >
>> > Beginners can do it easily.  I've watched my children switch between
>> > treble and soprano recorders in mid-concert without thinking about it and

>
>I thought there was a difference in fingering between the two - you know
>- the fingering for a "c" is different depending on which recorder you
>are playing.

Yes, that's the point.  On a soprano (descant) recorder the open note is
'C', on a treble it is 'F', but the music is always in concert.

Stephanie said
>I *have* worked with my beginner brass players on transposition, though,
>and they *can* do it easily.  I struggle, and a first-year student breezes
>right through the transpositions.  Is it age?  Is it beginners'
>luck?  Why can beginners, especially young beginners, handle this so
>easily, and older players struggle with it?  Any ideas?

I don't think it's age.  I believe that if you took a "mature" beginner and
taught them that "in some arrangements this note is fingered thus and in
others 'tis so" they would not have a great problem.   But if you've been
ptactising assiduously every day in the same transposition, then I believe
you've afcilitated some neural pathways that are hard to modify.   Did I
say that?  I.e., you've learned a habit which is hard to break.  A reflex
which requires little conscious thought.

Mind you, I think being able to transform dots on paper to meaningful sound
waves through any musical uinstrument is pretty marvellous.


Jack Alexander

Waverley Bondi Beach Band


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