![]() ![]() ![]() If the parts were all written in concert pitch, the player would have to learn a totally different set of fingerings for each instrument.įor the rest of the page, everything will be discussed in written pitch unless otherwise specified. With transposing parts, the player can use the same fingerings on every key of trumpet. It won't be the same note in concert pitch played on a C trumpet as on a B-flat trumpet or an E-flat trumpet, but will be fingered the same. An A-flat on any trumpet is played with the 2nd and 3rd valves. The value of transposing parts lies in the fact that, with transposing parts, every key of trumpet is played with the same set of fingerings. ![]() The second reason, though, is that there are trumpets in different keys. This isn't the case for the trumpet, which only transposes a whole step. First, it often makes the music fit better on the staff. Why bother? Why don't we just write trumpet music (and that of other transposing instruments) at concert pitch? Why the extra pain-in-the-rear step? There are two reasons, only one of which applies to the trumpet. So, the question on your mind that everyone asks when they hear about transposition. If you want to double-check, the B-flat trumpet will always have two fewer flats or two more sharps than concert pitch. ![]() If the piece is in D major, you will write the trumpet part in E major (E being a whole step higher than D). The concert key is A-flat major, so the trumpet key is B-flat major (one whole step higher). You will always write the trumpet part one major second (whole step spelled as a second) higher than you want it to sound, and that includes the key. Very important: notice that the key signature is also transposed. Concert pitch is the sound you actually hear, and written pitch is what you write on the trumpet part. ![]()
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