4 ms·

Not understanding this. Why, for example, doesn't a clarinetist just play a C? I'm on mobile so I can't explain my question well, but: why isn't the transposed

Not understanding this. Why, for example, doesn't a clarinetist just play a C? I'm on mobile so I can't explain my question well, but: why isn't the transposed version just the default interpretation of the score? If clarinetists are playing bflat when the score says c, why not just play c? Is the implied point that the same 440 hz is interpreted differently because of quality, secondary frequencies etc?

klez 8y ago
Try doing that with a Eb instrument like an Alto sax and tell me how you like the fingering :) Also, as the article says, this allows players of an instrument that has different versions with different tunings (e.g. saxophones which can be in Eb or Bb depending on the type of saxophone) to learn one set of fingerings and being able to reproduce it on all tunings. So, for example, a written C is done by pressing all but the last button (iirc). By doing this you'll play a Bb on a tenor sax and an Eb on an alto, but with the score being transposed you'll know that when you see a note one line below the staff you'll have to put your fingers in that position regardless of the sax you're playing.
systoll 8y ago
It’s not about the sound, it’s about the mechanics of performance. On an alto sax, ‘A’ is 370Hz On a tenor sax, ‘A’ 237Hz But in both cases it’s the note you get when you close only the 2nd hole. Because of the transposing convention, if you take someone who can sight read, but is familiar only with the alto sax, and hand them a baritone sax and baritone sax sheet music... they’ll basically be fine. If all saxophone sheet music encoded A=440hz, they’d have to relearn which note on paper corresponds to which set of buttons. That said, the relationship between the instruments in a family is important, but the specific keys are a historical accident. In woodwinds specifically, the instruments that ‘won’ and remain common are mostly b-flat, with e-flat in second place. If we could take all existing woodwind sheet music and shift the notes up 3 semitones, we’d instead have ‘c’ and ‘g’ woodwinds, where ‘c’ meant it matches non-transposing instruments. We could start doing that now, but no-one’s really interested in making a breaking change.

klez 8y ago

Try doing that with a Eb instrument like an Alto sax and tell me how you like the fingering :) Also, as the article says, this allows players of an instrument that has different versions with different tunings (e.g. saxophones which can be in Eb or Bb depending on the type of saxophone) to learn one set of fingerings and being able to reproduce it on all tunings. So, for example, a written C is done by pressing all but the last button (iirc). By doing this you'll play a Bb on a tenor sax and an Eb on an alto, but with the score being transposed you'll know that when you see a note one line below the staff you'll have to put your fingers in that position regardless of the sax you're playing.

systoll 8y ago

It’s not about the sound, it’s about the mechanics of performance. On an alto sax, ‘A’ is 370Hz On a tenor sax, ‘A’ 237Hz But in both cases it’s the note you get when you close only the 2nd hole. Because of the transposing convention, if you take someone who can sight read, but is familiar only with the alto sax, and hand them a baritone sax and baritone sax sheet music... they’ll basically be fine. If all saxophone sheet music encoded A=440hz, they’d have to relearn which note on paper corresponds to which set of buttons. That said, the relationship between the instruments in a family is important, but the specific keys are a historical accident. In woodwinds specifically, the instruments that ‘won’ and remain common are mostly b-flat, with e-flat in second place. If we could take all existing woodwind sheet music and shift the notes up 3 semitones, we’d instead have ‘c’ and ‘g’ woodwinds, where ‘c’ meant it matches non-transposing instruments. We could start doing that now, but no-one’s really interested in making a breaking change.