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The_Complete_Idiot%27s_Guide_To_Music_Theory

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232<br />

Part 6: Arranging<br />

Note<br />

<strong>The</strong> notation 8va means to<br />

play the note an octave<br />

above what’s written. <strong>The</strong><br />

notation 8vb means to<br />

play the note an octave<br />

below what’s written.<br />

<strong>The</strong>re are actually many more transpositions than listed in this table, especially<br />

among the instruments used in classical music. For example, trumpets in D were<br />

very often used by Mozart, Haydn, and other composers of their time.<br />

One of the reasons for these different transpositions is that early trumpets and<br />

horns had no valves, so there were only a limited number of notes available on<br />

them. A composer would then choose a transposition that gave him the best<br />

selection of available notes for each instrument.<br />

As you learned in Chapter 14, all of today’s music notation programs will automatically<br />

perform this transposition for you, saving you the trouble of transposing<br />

all the instruments manually. With a program like Finale or Sibelius, you<br />

can write the entire piece in concert pitch and then have the program create<br />

individual output in the instruments’ transposed pitch. Easy!<br />

Good Keys and Bad Keys<br />

Because of the need to transpose the nonconcert key instruments, you can end<br />

up with some instruments reading a whole bunch of sharps and flats, which of<br />

course is problematic. For example, the concert key of A has three sharps, and is<br />

relatively easy for nontransposing instruments to read. But for B♭ instruments,<br />

such as trumpets, the transposed key is B, which has five sharps and is a bear to<br />

read. For that reason, you probably want to avoid composing in the concert key<br />

of A—unless you want to give your trumpet section a real workout!<br />

In general, you want to arrange things so no instrument is reading more than<br />

three sharps or flats. Taking this challenge into account, the following table<br />

shows the best—and the worst—keys to compose in:<br />

Good and Bad Concert Keys<br />

Good Keys Acceptable Keys Bad Keys<br />

E♭ C D♭<br />

F<br />

B♭<br />

G<br />

A♭<br />

G♭<br />

D<br />

E<br />

A<br />

B<br />

Instrumental Ranges<br />

Note<br />

Just as with voices, each instrument has its own particular range. <strong>The</strong>re are certain<br />

notes that a trumpet, for example, just can’t play.<br />

For that reason, you need to know the playable range for each instrument in the<br />

orchestra, which is where the following table comes in. For each instrument

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