If you are transposing entire chords, and you know the name of the chord, you may find it easier to simply transpose the name of the chord rather than transposing each individual note. In fact, transposing in this way is simple enough that even a musician who can't read music can do it.
Chromatic circle
When transposing, you can use the
chromatic circle both to change the name of the key (as
above ) and to change chord names, because the basic idea is the same; the entire piece (chords, notes, and key) must move the same number of
half steps in the same direction. If you're using a chromatic circle to transpose the names of all the chords in a piece, just make sure that you move each chord name by the same amount and in the same direction.
Step 1: choose your transposition
Your choice of new key will depend on why you are transposing, but it may depend on other things, also.
If you are transposing because the
music is too low or too high , decide how much higher or lower you want the music to sound. If you want the music to sound higher, go around the
chromatic circle in the clockwise direction. If you want it lower, go in the counterclockwise direction. The further you go, the more it will change. Notice that, since you're going in a circle, raising the music a lot eventually gives the same chords as lowering it a little (and vice-versa). If some keys are easier for you to play in than others, you may want to check to make sure the key you choose has "nice" chords. If not, try another key near it.
If you are changing keys in order to
make the chords easy to play , try changing the final chord so that it names an easy-to-play-in key. (Guitarists, for example, often find the keys G, D, A, E, C, Am, Em, and Dm easier to play in than other keys.) The last chord of most pieces will usually be the chord that names the key. If that doesn't seem to work for your piece, try a transposition that makes the most common chord an easy chord. Start changing the other chords by the same amount, and in the same direction, and see if you are getting mostly easy-to-play chords. While deciding on a new key, though, keep in mind that you are also making the piece higher or lower, and choose keys accordingly. A guitarist who wants to change chords without changing the
pitch should lower the key (go counterclockwise on the circle) by as short a distance as possible to find a playable key. Then
capo at the fret that marks the number of keys moved. For example, if you moved counterclockwise by three keys, put the capo at the third fret.
If you are changing keys to
play with another instrumentalist who is transposing or who is playing in a different key from you, you will need to figure out the correct transposition. For a
transposing instrument , look up the correct transposition (the person playing the instrument may be able to tell you), and move all of your chords up or down by the correct number of half steps. (For example, someone playing a B flat trumpet will read parts one step - two half steps - lower than
concert pitch . So to play from the same part as the trumpet player, move all the chords counterclockwise two places.) If the instrumental part is simply written in a different key, find out what key it is in (the person playing it should be able to tell you, based on the
key signature ) and what key you are playing in (you may have to make a guess based on the final chord of the piece or the most common chord). Use the chromatic circle to find the direction and number of half steps to get from your key to the other key.
Step 2: change the names of all the chords
Using the chromatic circle to count keys, change the note names in all of the chords by the same amount (the same number of half steps, or places in the chromatic circle) and in the same direction. Change only the note names (things like "F" and "C sharp" and "B flat"); don't change any other information about the chord (like major, minor, dim., 7, sus4, add11, etc.). If the bass note of the chord is written out as a note name, change that, also (using the same chromatic circle).
Check your transposition by playing it to see if it sounds right. If you don't like playing some of the chords in your new key, or if you have changed the key too much or not enough, try a different transposition.
Say you have a song in the key of G, which is too low for your voice. If it's just a little too low, you can go up two keys to A. If this is still too low, you can go up even further (5 keys altogether) to the key of C. Maybe that's high enough for your voice, but you no longer like the chords. If that is the case, you can go up two more keys to D. Notice that, because the keys are arranged in a circle, going up seven keys like this is the same as going down five keys.
Now say you have a song in the key of E flat. It's not hard to sing in that key, so you don't want to go far, but you really don't like playing in E flat. You can move the song up one key to E, but you might like the chords even better if you move them down one key to D. Notice that if you are a guitar player, and everyone else really wants to stay in E flat, you can write the chords out in D and play them with a capo on the first fret; to everyone else it will sound as if you're playing in E flat.
Now say that you have a song that is in B flat, which is more than a little (more than one key) too high for you. Find a key a bit lower that still has nice, easy-to-play chords for guitar.
The best solution here is probably to put the song in the key of G. This is three keys lower, and has easy chords.
A golfer on a fairway is 70 m away from the green, which sits below the level of the fairway by 20 m. If the golfer hits the ball at an angle of 40° with an initial speed of 20 m/s, how close to the green does she come?
A mouse of mass 200 g falls 100 m down a vertical mine shaft and lands at the bottom with a speed of 8.0 m/s. During its fall, how much work is done on the mouse by air resistance
Chemistry is a branch of science that deals with the study of matter,it composition,it structure and the changes it undergoes
Adjei
please, I'm a physics student and I need help in physics
Adjanou
chemistry could also be understood like the sexual attraction/repulsion of the male and female elements. the reaction varies depending on the energy differences of each given gender. + masculine -female.
Pedro
A ball is thrown straight up.it passes a 2.0m high window 7.50 m off the ground on it path up and takes 1.30 s to go past the window.what was the ball initial velocity
2. A sled plus passenger with total mass 50 kg is pulled 20 m across the snow (0.20) at constant velocity by a force directed 25° above the horizontal. Calculate (a) the work of the applied force, (b) the work of friction, and (c) the total work.
you have been hired as an espert witness in a court case involving an automobile accident. the accident involved car A of mass 1500kg which crashed into stationary car B of mass 1100kg. the driver of car A applied his brakes 15 m before he skidded and crashed into car B. after the collision, car A s
can someone explain to me, an ignorant high school student, why the trend of the graph doesn't follow the fact that the higher frequency a sound wave is, the more power it is, hence, making me think the phons output would follow this general trend?
Nevermind i just realied that the graph is the phons output for a person with normal hearing and not just the phons output of the sound waves power, I should read the entire thing next time
Joseph
Follow up question, does anyone know where I can find a graph that accuretly depicts the actual relative "power" output of sound over its frequency instead of just humans hearing
Joseph
"Generation of electrical energy from sound energy | IEEE Conference Publication | IEEE Xplore" ***ieeexplore.ieee.org/document/7150687?reload=true
A string is 3.00 m long with a mass of 5.00 g. The string is held taut with a tension of 500.00 N applied to the string. A pulse is sent down the string. How long does it take the pulse to travel the 3.00 m of the string?
