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Topic: 3 Simple quetsions (Read 6724 times) previous topic - next topic

3 Simple quetsions

I apprecaite very much of your help & I I hope you can understand my English.

1) Transpose alto (Eb) to Soprano (Eb)
I know the way to transpose concert pitch to a alto saxophone pitch (Eb). Somthing like that:

- Click on the alto sax staff to select it.

- Next, at the top of the window, click tools. From there, select Transpose Staff.

- Transpose +9 semitones, and check where it says "Update Staff Playback Transposition..." and "Minimize sharp/flat count".

However, I have no idea how to transpose alto pitch (Eb) music sheet to Soprano saxophone (Bb) in this program. Please advise.

2) How to transpose a tenor pitch (Bb) music sheet to alto (Eb). Similar to question 1

3) Bar-line
When bar line (same instrument), it will go from left to right. I have to add more & more bar line until the bar line is out of my screen/windows sign.  The example is like this:

1, 2, 3, 4, 5, (6, 7, 8, 9, 10....15)
Start from bar line 6, it's out of my windows sight.

How to add another new bar line under the first bar line?
Like this:
1, 2, 3, 4, 5
6, 7, 8, 9, 10
11, 12, 13, 14, 15

Thanks a lot

Re: 3 Simple quetsions

Reply #1 –
Dont forgot to check automatically update sound transposition so that it will sound righr.

From Concert to Alto Sax - Transpose +9
From Concert to Soprano Sax - Transpose +2
From Concert to Tenor Sax - Transpose +14
From Concert to Baritone Sax - Transpose +21

From Alto Sax to Soprano Sax - Transpose -7
From Alto Sax to Tenor Sax - Transpose +5
From Alto Sax to Baritone Sax - Transpose +12

From Soprano Sax to Alto Sax - Transpose +7
From Soprano Sax to Tenor Sax - Transpose +12
From Soprano Sax to Baritone - Transpose +19

From Tenor Sax to Alto Sax - Transpose -5
From Tenor Sax to Soprano Sax - transpose -12
From Tenor Sax to Baritone Sax - Transpose +7

From Baritone Sax to Alto Sax - Transpose -12
From Baritone Sax to Soprano Sax - Transpose -19
From Baritone Sax to Tenor Sax - Transpose -7

The bar lines:-

In Noteworthy Composer all the measures in the score are continuous (they disappear off the right side of the screen) you have to scroll across to get to the next measure.
When you add a measure near the start of the score all the later measures move to the right.
But when the score (or instrument part) is printed the measures (bars) are arranged to fit down the page like a music sheet.
Open one of the sample scores then use the File>Page Setup to set the size of the score font then Print Preview to see how the score will be printed.

Hope this helps.

Re: 3 Simple quetsions

Reply #2 –
Barry,

A millions thanks!

Bar-Line
But I don't understand practically in your explanation:

(You have to scroll across to get to the next measure.
When you add a measure near the start of the score all the later measures move to the right.)

1) What do you mean "To across to get to the next message?  Do you mean high-light the bar-line by mouse then paste it under starting bar-line?  I did it but an empty bar-line was created at the beginning ( start of the score on first bar-line).

2) Add a measure/  Which commend of the message - Add bar-line or Paste (paste the high-light bar-line on the first column).

Many many thanks.

Re: 3 Simple quetsions

Reply #3 –
Re-expalanation of Barry's explanation, regarding bar lines:

When you are editing music in NWC, what you see on the screen is NOT what you will get when your music is printed. This is a specific feature of the program. You, the user, cannot change it.

When editing music, the staff for a particular instrument will always appear as one continuous line. Unless your music is very short, it will extend off the screen. You must scroll left or right, as you work. There is no way to "wrap" a staff during editing, like the way words are wrapped to margins with a word processor.

The printed page will have staffs "wrapped" to margins. This can be seen in File > Print preview. You can manually over-ride where the wrapping occurs (to some extent) using "force system break" (see the help file).

If you open one of the NWC music file samples, such as Fred's "Caverns," you will see that there is more than one staff, representing more then one instrument. In this NWC music editor, each staff appears continuously as a single line from left to right, without wrapping. But the printed music wraps them in groups, as you would expect.

Why doesn't NWC wrap a staff during editing? If it did, then each time you entered a keystroke, the entire display would need to be visually updated. This would require the adjustment of many interacting pieces. In a large composition, the editing function would become slower as you progressed.

Re: 3 Simple quetsions

Reply #4 –
Can anyone tell me how to transpose music for a trombone so that I can play it on the alto Eb sax? I have to play it for our school play but they didn't have a sax part so I have to transpose the trombone part...Any help would be really appreciated! Thanks

Re: 3 Simple quetsions

Reply #5 –
If the trombone part is in bass clef, it's easy.  Just pretend it's in treble clef, add three sharps to the key signature (or remove three flats) and play down an octave.

Watch for accidentals:

A natural (bass clef trombone) ==> F# (treble clef Eb alto)
E natural (bass clef trombone) ==> C# (treble clef Eb alto)
B natural (bass clef trombone) ==> G# (treble clef Eb alto)

and

Ab (bass clef trombone) ==> F natural (treble clef Eb alto)
Eb (bass clef trombone) ==> C natural (treble clef Eb alto)
Bb (bass clef trombone) ==> G natural (treble clef Eb alto)

The others (from rusty memory) should stay as they are.  You'll need to check double sharps and flats (if any).

When I used to do this transposition I found it helpful to write these "changing" accidentals above the notes.  Use a light pencil so you can get rid of the markings later.  It can be really annoying to get a part for your instrument with "transposed" accidentals that someone has left behind last time.

The trombone part is likely to go too low.  If this happens, you could either leave it out, or stop playing down the octave.  Check with the conductor.

If the trombone part is in Bb treble clef, you have more work to do.  You need to play down a perfect fourth.  Your key signature will have an extra sharp (or one flat fewer).  Most accidentals will stay the same.  The changing ones are:

B natural (Bb treble clef trombone) ==> F# (Eb alto sax)
Bb (Bb treble clef trombone) ==> F natural (Eb alto sax)
B# (Bb treble clef trombone) ==> Fx (Eb alto sax)
Bbb (Bb treble clef trombone) ==> Fb (Eb alto sax)

In the very, very unlikely event that you get a Bx in the trombone, it should transpose to F triple sharp.  To make it easier on yourself, and all the music theory purists out there, simply write G#.

Cheers,
Ewan

Re: 3 Simple quetsions

Reply #6 –
B double sharp is more than "very, very unlikely" because it would have to be a leading tone to C double sharp, which is more than likely a leading tone to D#.  You ain't gonna get many D#s as tonic - D# Major?  Ain't no thang!  D# minor?  That would put those transposing instruments in uncomfortable or impossible keys (B# minor for the alto saxes...).
And if you do get a Bb treble clef trombone part, burn it!

Re: 3 Simple quetsions

Reply #7 –
Yep, I think you're right.  I can't see a sensible use for Bx.  The only time it's ever going to appear is if someone has purposely written in quasi keys such as Cx minor, or has transposed and forgotten to "wrap around" to flats (and even then, the original key would have a lot of sharps - say D# minor [6 sharps], and the transposing instruments would need a lot of flats - say Db piccolo [adding 5 more sharps], giving a transposed key of Cx minor; the same transposed key would appear with concert A# minor transposed for an Ab instrument - there's a high clarinet in Ab, isn't there?)  Or someone could just be show-boating by writing obscurely (and incorrectly?).

Hmm - Bb treble clef trombone parts.  I'd like to agree and say burn the lot, but the top two parts in Australian (and probably British) brass bands use this method.  I'm always a little disquietened by it, but I have no troubles accepting Bb tenor sax or Bb bass clarinet parts - which are exactly the same transposition!

But the transposition that really makes me cringe is treble clef BBb bass [tuba] parts, and the equivalents for Bb bass sax and Bb contrabass clarinet.  I was lucky enough to play contrabss clarinet for a while, and it's fine there, but trying to arrange in the transposition, or read it from a score - eurgh!

Re: 3 Simple quetsions

Reply #8 –
Just this past week, for the first time to my recollection, I saw Cx in the Bass singing line (SATB choral). I believe I was the only one in the choir who knew what it was, except for someone who also plays some orchestral instrument. I can think of no reason why it would not be D natural.

Re: 3 Simple quetsions

Reply #9 –
There is a big difference between Cx and D.
Say you have a line that reads (in the key of C) Do Re Ri Mi Fa Sol Si La (which I have just run across).
If that same line happens to appear in a piece in B Major, then the line will read B C# Cx D# E F# Fx G#.
This would be a good reason why it would not be D natural.

Re: 3 Simple quetsions

Reply #10 –
Enlightening. In the particular Cx situation, however, the music is rather atonal, and I believe the real reason for the Cx is to show that the composer is slick. But what do I know? I just sing it.

Re: 3 Simple quetsions

Reply #11 –
I aslo think there's a big difference between Cx and D.

If you're in B major - not that uncommon a key, and have an augmented fifth chord leading to the tonic, you have F#-A#-Cx leading to B-D#-F#.  I'd really hate to see a D natural in the F#aug chord!

Re: 3 Simple quetsions

Reply #12 –
... Earlier in the music in question, one portion has a change from 5/8 (yes, 5/8) to 2/4 (yes, 2/4) time signature.

In the particular portion, the treble clef (sopranos and altos) has a Dmajor signature, but the bass clef (tenors and basses) has a Gmajor signature.

On the treble clef, the notes are D# under A#. On the bass clef, the notes are also D# under A#. This is at the final beat of a measure. It leads into this, in the first beat of the following measure, prolonged for 2 measures: treble E# under A#, bass Cx under A#.

Re: 3 Simple quetsions

Reply #13 –
In that case the Cx is correct since this is a chord of A#major. The preceding chord is possibly D# but without the third it's impossible to tell whether it's major or minor.

However D# minor is a perfectly respectable key (six sharps), and its dominant is A# major which needs the Cx (which is indeed the leading note in this key).
 

Re: 3 Simple quetsions

Reply #14 –
...which brings us back to a question already asked on this forum: how many sharps in G sharp major? :-)