Adding Winds to Your Strings:

Solving the Mysteries ofTransposition

A string teacher had started his district's string program three
.fi years earlier, and his students were now entering high
school. They were eager to form a full symphony orchestra,
including winds. The teacher was concerned not only with wind
instrument transpositions, but also how to approach this often
confusing subject with his newly organized wind section, all of
whom had been recruited from the school's band program but
had never transposed before.
String teachers need to remember that transposition can be
thought of in three ways, like the three sides of a triangle. The
composer or arranger takes a concert pitch and transposes it so
that the correct pitch will sound on each specific instrument.
The conductor takes that written note, reverses the process,
and transposes back to the original concert pitch. These
tactics are taught in many required college courses.
Wilbert K. Kimple
Wind and brass players, however, seldom think of, or may
not even know about the above. They are simply concerned
about what they must do on their own instruments to insure
that the correct pitch will sound. This third side of the triangle
is seldom taught to the average string educator.
For example, the arranger knows that to get a specific sound
on a B-flat trumpet, all pitches and the key signature must be
raised one full step from concert pitch. Conductors know that to
determine the trumpet's actual sounding pitch, they must lower
both the written note and the key signature given in the score by
this same full step. The trumpet player, however, simply reads
and playsthe part.
The suggestions provided below and in the accompanying
chart provide a reference guide for getting wind musicians to play
correct-sounding pitches in traditional Classical and Romantic
~

Instrument What Player Does if Instrument Is Unavailable Comments

TrumpetinC • Use B-flat trumpet - transpose up whole step • Tiring on lips; leads to awkward fmgering patterns and intonation
(common) • Use D trumpet - transpose down whole step problems due to increased number of sharps.
• Better solution than playing C parts on B-flat trumpet but D trumpets
are harder to come by
Trumpet in D • Use C trumpet - transpose up whole step • Tiring on lips; leads to awkward fingering patterns and intonation
(common) problems due to increased number of sharps.
• Use B-flat trumpet - transpose up major 3rd • Often only solution available: causes severe strain on lips and awkward
fingerings; very different timbre from true D trumpet
• Use E-flat trumpet - transpose down half step • Fingering and intonation problems due to resulting sharp keys
Trumpet in A • Use B-flat trumpet - transpose down half step • Solution used even among professionals
(rare)
Trumpet in E-flat • Play on D trumpet - transpose up half step • Fingerings, endurance, and intonation will be problematic.
(common)
Trumpet in F alto • Use a marching alto hom or mellphone in F if tone color permits
(rare)
Clarinet in A • Use B-flat clarinet - transpose down half step (think of putting a • Some awkward fingers will arise (key of C for an A clarinet becomes
(common) flat in front of each note) kev of B on a B-flat clarinet), but a practical solution used by many
Clarinet in C • Use B-flat clarinet - transpose up whole step
(common)
Clarinet in D • Use an E-flat soprano clarinet - transpose down half step • Can be awkward but is often the only possible solution
(rare) • Use B-flat clarinet (if part does not go too high) - transpose up • Timbre will not be as close to the ideal as the E-flat soprano option
major 3rd
Bassett Horn • Use E-flat alto clarinet - transpose up whole step • Remember, the bassett horn is part of the clarinet family
(in F -rare)
Hom in E, E-flat, • Use F horn - transpose down accordingly (half step, whole step,
D, C (common) minor 3rd, perfect 4th, respectively)
Hom in B-flat • Use F horn - transpose down perfect 5th • Determine whether basso or alto through trial and error, or consult a
basso (common) professional player
Hom in B-flat alto • Use F horn - transpose up perfect fourth • Determine whether basso or alto through trial and error, or consult a
(common) professional player
Hom in A; G • Use F hom - transpose up accordingly (major 3rd, major 2nd,
(common) respectively)
Alto Trombone • Use tenor trombone
• Use small bore trombone and small CUD mouthpiece
Bass Trombone • Use large bore tenor trombone with F extension, or four valve A true bass trombone will do wonders for the sound of the brass section,
euphonium as substitute but this instrument has a very large bore that is hard to fill with air for
most young players.
Second Bassoon • Use bass clarinet - transpose up major 9th and write part in treble
clef
Oboes • Use clarinet or muted trumpet - transpose up whole step Oboe parts are too low for good fluteDrojection.

AMERICAN STRING TEACHER MAY 1998 59

 continued from pagt· 09

• PARIS • MUNICH • VIENNA • SALZBURG • BERLIN •LONDON •

s:
2 ~
ORCHESTRAS &
music. These suggestions are also what
; the conductor must tell players to do, if
2!
:: STRING ORCHESTRAS • the musicians don't already know. Ideally,

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c.a all special-keyed instruments would be avail-

Custom European Performance Tours I!

c::: able so that no transposition will be nec-
essary. That is, a Trumpet in D part would

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tions, however, will require use of com-

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i5I!i
mon instruments and transposition.
Player options are listed in the
i!! · European guest artists & conductors available • is
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Exchange with host performing groups • E;
author's order of preference, although
other solutions, such as reading the part
w- • High quality touring at reasonable cost • !is in a different clef, may be practical. While
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c::: string teachers are encouraged to require

•
Call or write for more information:
Craig R. Gentsch
!!
2
wind and brass players to become famil-
iar with the original notation and the
aD WORLD PROJECTS CORPORATION • skills necessary to perform these tradi-
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tional parts. Transposed parts may not
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always be available, and, believe it or not,
aD :IIi
once these skills are acquired, it will be
easier for the player to read and trans-
• ROME • PRAGUE • LISBON • CORK • MADRID • VENICE • pose the original part, usually written in
the key of C, than to have to read an
already transposed part where they might
ASTA URBAN OUTREACH PROGRAM GRANTS be dealing with five or six sharps in the
keysignature.
STA'sUrban Outreach Program supports innovative projects thot provide economicolly disadvantoged

A
TRUMPETS
urban school children, through grade twelve, with the opportuni~ to study stringed instruments. Funds
Trumpet students learn first to playa
are awarded to two ~pes of new or existing projects: INDIVIDUAL lESSON PROJECTS (private string B-flat instrument, and most student band
instruction); or GROUP PROJECTS (string instruction, either group or individual, within alarger institutional con- parts for trumpet are written in B-flat.
text such as ayouth symphony, ensemble program, summer music camp, or communi~ music school). Many professional orchestral players,
however, prefer the more brilliant sound
The funding cycle runs from July 1to June 30 of the next year. of a C trumpet and find that higher
Application deadline: June 15. pitches are a bit easier to play on this
Post ASTA·UPO award recipients have included: the Colonial Symphony, Basking Ridge, New Jersey; smaller instrument. In addition, many
Baltimore Talent Education Center, Maryland; Universi~ of Texas Pan American Orchestra Camp, Edinburgh; orchestral parts are written in C, yet many
students do not own a C trumpet. Often
Special String Assistance Program, Kansas City Public School District, Kansas; the Pre-(onservatory the only practical solution is to play C
Outreach Program, Seattle Conservatory of Music, Washington; the Southwest DeKalb String Project, trumpet parts on a B-flat instrument, rais-
Southwest DeKalb High School, Decatur, Georgia; Bach to the Future Arts Partnership, Shipley School, ing all pitches one full step. Orchestra
directors should be aware that this can be
Bryn Mawr, Pennsylvania; and the String Project ot Enrico Fermi School1?, Rochester, New York. physically tiring on the lips and can lead
to some awkward fingering patterns and
intonation problems due to the number
of sharps that are likelyto arise.
Trumpets in A are now obsolete, and
A trumpet parts are rare. At one time,
B-flat trumpets were made so that all four

60 AMERICAN STRING TEACHER MAY 1998

tuning slides were marked with a ring on time as the school's A clarinet. Stands different lengths and intonation will be
one of their surfaces. The theory was that should also be purchased, in order to affected. Marking these barrels in some
if the player pulled all of the slides out to keep one clarinet available while the fashion will prove helpful.
this mark, a usable A trumpet resulted. other is being played. Key changes, and Although clarinets built in the key of
The player could then use normal finger- therefore instrument changes, often C can sometimes be found or rented,
ings to perform an A trumpet part. In occur in many works. they aren't worth the effort or expense.
fact, many manufacturers featured this When making the change between Also, the fingering problems resulting
key change as one of the virtues of their clarinets, the player simply switches the from transposing up for clarinet in Care
model. Teachers might want to give this a mouthpiece with the reed attached to the far less of a burden than having to trans-
try, but the results, especially intonation, other clarinet. Do not allow students to pose down for clarinet in A.
are usually not satisfactory. switch tuning barrels, as these barrels are
Iffunds are available, high-quality
individual C and D trumpets should be
acquired. Because most teachers work
within limited budgets, money can be
saved by purchasing a D trumpet with a
set of four auxiliary slides that convert
this D instrument into a C instrument.
Similar conversion kits are also available
to change E-flat trumpets into D. While
the ideal solution would be to have sepa-
rate trumpets for each key, the use of the
conversion slideswillallowfor greater key
coverage at a minimum of cost.
These auxiliary slides should be care-
fully marked so that they will not be
mixed up by the player. One easymethod
for a D-to-C-conversion trumpet would be
to leave the D slides unmarked, but put a
large dot on all four C slides using finger-
nail polish or enamel paint. A case that
allows players to carry three trumpets at
the same time should also be purchased,
along with a stand that holds two or three
trumpets in order to keep the different
instruments readily available for any key
changes that may occur in the middle of
a work.

CLARINETS

Clarinets were originally constructed in

many different keys. Modern practice has
left us with twostandard orchestral instru-
ments (B-flat and A), but a conductor
working with standard Classical and
Romantic literature is sure to come across
older transpositions.
All school orchestra programs should
own at least two A clarinets along with a
double case that allows their students to
carry their B-flatinstruments at the same

AMERICAN STRING TEACHER MAYI99S

61
 connnuec rom page 61

HORNS probably intended for B-flat basso. On the other hand, if the
If confusion reigns supreme about transposition with one wind second horn part is played in B-flat basso and extremely low
instrument, it is the horn. Double horns are pitched in both F notes result, the music wasprobably meant as an alto transposi-
and B-flat. The player, however, considers it as one instrument tion. Both parts will be either alto or basso. It is possible, in a
reading a part written for horn in F. Players simply choose to use composition requiring four horns, to have each of the parts in a
the B-flat side of the instrument for some pitches, and the F side different transposition!
for other pitches. This change between the two sides of the If the horn part goes into bass clef, a determination must be
horn is controlled by the thumb valve. The conductor need not made to see if the parts have been printed in old- or new-style
worry about which side of the instrument is being used if stu- notation. The difference is simply that of an octave. Old-style
dents have had proper instruction in their early years. As a gen- notation writes the pitches an octave lower than the actual
eral rule, any written pitch above second line G will have the desired sound, while new-style notation writes the pitches at the
thumb valve held down. desired sound, all before any additional transpositions take place.
Public school orchestra directors quickly find out that most When the part calls for stopped horn, mutes can be used
marching bands require the horn players to use an alternate instead, if the music provides adequate time to put them in and
instrument during marching season. Don't expect too much take them out. Although the sound is not quite the same, into-
from the horn playersduring these months, as they will be using nation and pitch accuracy will be greatly improved. Be warned
a different instrument, with different fingerings, sometimes in that horn mutes come in two types: non-transposing and trans-
E-flat not F, and often with a different mouthpiece. Save music posing. The transposing ones require that all pitches be lowered
with difficult horn parts until after marching season. one half-step, while the non-transposing mutes, as the name
Sometimes B-flat parts are not clearly marked as being suggests, require no pitch changes.
alto or basso. Often common sense is the only way of telling. If the director wants the hand-stopped sound, he or she
If alto is tried, and the transposed first horn part ends up being should have players use only the F side of the double horn and
several ledger lines above the treble staff, then the part was lower all pitches one half-step, just as if using a transposing

62 AMERICAN STRING TEACHER MAY 1998

mute. The B-flatside of the horn cannot Orchestra directors must plan well in
be used for effective stopping. If the play- advance, be aware of potential problems,
Wilhcrt K. Kimple holds bachelor's and master's
degrees in music education, taught allareas of
er's hand is inserted into the bell cor- purchase a few special instruments, know
public school music for twenty-two years, and
rectly, and the written pitches are lowered what to tell players to do, and perhaps
served on thefaculty of Converse College in
a half-step, the desired pitch will sound. write out transposed parts or parts in dif-
Spartanburg, South Carolina for some fourteen
Thus to get a C scale, the player should feren t clefs than the original. Find
years. At the college level he has taught both
stop the bell of the horn with his or her professional players who can provide
beginningand advanced instrumentalcon-
hand and playa B scale on the F side of advice when needed. And, of course,
ducting, undergraduate and graduate arrang-
the instrument. keep smiling. Successawaits! AST
ing, and instrumental methods; he directed the
Converse College Wind Ensemble andserved as
OTHER INSTRUMENTS principal horn and substitute conductor ofthe
While bassoons and trombones do not Spartanburg Symphony Orchestra.
normally have to transpose orchestral
music, they are often faced with having to
read parts written in tenor clef. Educators
should make everyeffort to teach students
to read this clef, but, at times, it may prove
more prudent to rewrite these parts in
bass clef, even though many ledger lines
above the staffare sure to result.
hici/too
MUS I CAL (JC 0 L LEG E
Older first trombone parts were origi-
nally written for the now almost obsolete
alto trombone. Modern players use the
tenor trombone. Thus, the original first One of the outstanding schools of music in the
part seems to be quite high by today's nation, CMC is the school of choice for young
standards. Directors should remember musicians seeking a professional conservatory
that the part was written for a shorter education. Founded in 1867, CMC is located in
length instrument and expect players to the heart of Chicago, an ideal cultural environ-
have difficulties in this very high range. ment in which to study.
The best wayto assist the first player is to
CMC's preeminent reputation results from a
encourage the use of a small bore tenor
distinguished faculty that includes renowned artists
trombone with a shallow cup mouthpiece
and teachers who are members of the Chicago
for use in the orchestra. The band direc-
Symphony Orchestra, Lyric Opera and other
tor, however, will probably want him leading musical organizations. CMC alumni have
or her to use a trombone with a larger become established solo performers, composers,
bore and a larger cup mouthpiece. Teach- conductors and members of major orchestras
ers should be careful not to place the around the world. In fact, CMC boasts a 100%
student in the middle of a conflict. Pro- placement record for its music education graduates.
fessional trombone players often change
instruments,just like trumpet and clar- To find out more, write or call Mr. Bryan Shilander,
inet players. Assistant Dean, College of the Performing Arts,
Roosevelt Universiry, 430 South Michigan
SUCCESS AWAITS Avenue, Chicago, IL 60605; 312-341-3789.

Adding winds to your strings, even for Scholarship Auditions: February 6-7, I998;
one or two numbers on a concert, can be March I3-I4, I998; March 2I, I998
both an exciting and frustrating experi-
ence. Because strings play best in sharp
keys, and winds play most effectively in
flat keys, intonation willprobably become
the biggest problem, not transposition.
CMC75

AMERICAN STRING TEACHER MAY 1998

63