Williams-method-for-transposition.pdf

FOREWORD

Transposition, or changing music from one key to another is required of the legitimate orchestral trumpeter. He should be able to read fluently and play music properly written for the trumpet in any key. To gain this proficiency a considerable amount of practice is required. Diligence, patience and perseverance are necessary.

Before the valve trumpet came into use, composers were obliged to write for and performers were required to have trumpets and crooks for: Trumpet in C, D~, D, E~, E, F, G~, G, A~, B~ and B ~and after the valve trumpet appeared, composers eontinued to write for instruments no longer in general use.

In America, almost all of our fine orchestral trumpeters use the B~ trumpet, occasionally using a smaller trumpet for certain Bach numbers and a few other compositions which employ the extreme high register. Judging from the American standard, the tone of the B~ trumpet is, for general purposes, the most satisfying. Therefore, this work is based on "transposition as applied to the B~ trumpet." Nevertheless, it will meet the practical requirements of a performer using a C trumJ?et by making the allowance of a Major second.

Much material is needed in a work of this nature from very easy exercises to studies presenting difficulties. Some of the "Twelve Characteristic Studies" and "Twelve Artistic Duets" are extremely difficult and it is recommended that these studies first be practiced just as written on B~ trumpet, then used for transposition material as indicated.

Ernest S. Williams

Copyright© 1938 Charles Colin Puhl., 315 W. 53rd St., N.Y.C. 10019 International copyright secured, Made in U.S.A. All rights reserved.

The terms used to indicate Trumpet and Cornet, which the student is most liable to meet with, are listed as follows:

English:

German:

French:

Italian:

Trumpet

Trompete

Trompette

Tromba-Clarino Trombetta

Trumpets

Trompeten

Trompettes

Trombe-Clarini

Cornet

V entil Kornett Tromha-Kornett

Cornet a Pistons

Pistoner-Cornetto Cornetto a macchina Cornetto a pistoni

Flugelhorn

Fliigelhorn

Bugle

Flicorno

Bass Trumpet

Bass Trompete

Trompette basse

Tromha bassa

Small Trumpet

Kleine Trompete

Petite Trompette

Piccola Tromha

The term "Natural Trumpet" (German: Natur Trompete) refers to the trumpet used before the invention of the valves and introduces no difficulties inasmuch as all things playable on the natural trumpet can be performed on the modern valve-instrument, but not vice versa. The appelations for the different tunings are as follows:

English:

German:

French:

Italian:

inC

inC

en Ut

inDo

inD b

in Des

en Reb

in Reb

inD

inD

enRe

inRe

inE b

inEs

enMi b

inMib

inE

inE

enMi

inMi

inF

inF

en Fa

in Fa

inG

inG

en Sol

in Sol

inA b

in As

en Lab

in Lab

inA

inA

en La

in La

inB b

inB

en Sib

in Sib

inB ~

inH

en Si q

in Si ~

3

SPECIAL EQillPMENT The mute is made of metal, wood or papier-mache and when placed in the bell of the Trumpet or Cornet gives the tone a nasal and somewhat thin timbre. The following are the most frequently used expressions by which composers call for the muteeffect.

English:

German:

French:

Italian:

Mute

Dampfer

Sourdine

Sordina Sordino

With mute

Mit Dampfer

A vee Sourdine

Con Sordina

Without mute

Ohne Dampfer Dampferweg

Sans Sourdine Otez Ia Sourdine Enlevez Ia Sourdine

Senza Sordina Sordina levata Via Sordina

Still with mute

N och Dampfer

Encore Ia Sourdine

Ancore Sordina

Stopped

Gestopft

Bouche

Fermata

Some Trumpets and Cornets have a ring attached to the 3rd or 1st Valve-slide fitting respectively the little finger or thumb of the left hand. As the low D and D~ (C#) have a tendency to he sharp, students who have instruments with this particular equipment, should through practice acquire the necessary technique sufficiently to make the above mentioned tones and others true in pitch.

H a part when transposed on a B~ Trumpet should call for a low F~, this may be obtained by drawing the 3rd valve slide and using the following fingering: 1

1

2

3

3

3

t 2 9

Composers have employed the bass-clef for Trumpet in various ways. And as no general rule can be given, the performer must interpret each instance according to the composer's intention.

4

Intervals An interval is the distance between two given tones. Measured from C they appear as follows:

~

11

II

II

II

"

II

0

II

0

II

II _ ' '

~"

or uruson

but any tone may be taken as point of departure. Gaged from the keynote, all the intervals in the major scale are called either perfect or major.

A perfect interval can be augmented by raising its upper note ~ or by lowering its lower note -&

-4~ Likewise it can be diminished by lowering its upper note :=:t~ or by raising its lower ~;.e.

-9-

note --~ Major intervals are augmented in the same manner, but if made smaller are called

;t-a-

minor

I

e

--9# or~~

A minor interval made smaller, it is then called a diminished interval

The Minor second

&u

is convenient for measureing other intervals as for instance

a major second contains two minor seconds, a minor third three minor seconds, a major third four minor seconds, a perfect fourth five minor seconds, etc.

TRANSPOSITION AS APPLIED TO THE Bb TRUMPET Transposition may be affected by means of the moveable do

Trumpet ion C reads C

Trumpet in Bb reads C

~ r ~! r i

II

i

and sound C

II

~

F

II

tt

~r

!

t)

and sounds Bb

Trumpet inC (Italian: Do) (French: Ut)

Therefore to play a C Trumpet part in key of C on a Bb Trumpet, it is necessary to play

-fl J J J FIF' Pt Do mi so do

mi re do

lp J r rt ,.. I ti

so fa mi re

do

a major second higher or in the key of D Do mi so do

mi redo

ti so fa mire do

5

To play a C trumpet part in key of F on a Bb trumpet it is necessary to play

~ ~~ J

j

Do

mi

r

so

~ l!i J r' Do

a major second higher or in key of G

a major second higher in key of A

4~ t

:J

J IJ.

mi

so

mi

mi

r

~

c

61 F J J --- IJ. I

mi

fa

mi

so

t

re

j

mi

so do

~

~)

mi

j

II

re

~e 4i40J\ D~

ti

ti

1\

re

4~& I F r J J IJ, ~ F Ir r J J JI Do so mi do

II

re

:hr lr J J J J I so fa mire

so do

~

j;

· mi

J IJ.

j

re

mi

fa

mi

and aounds

Do so mi do

6

j

mi

J \J. J1

so

mi

Do

II

j

J

4*1f., J II

pF

J) J

fa

l

re

mi

mi

J

J;>o

a major second higher or in key of E

fa

mi

so

mi

4~"J

on a Bb trumpet it is necessary to play

p A

J J J I ;. Jl

so

j

re

I

T

Do

To play a C trumpet part in key of D

fa

mi

~ mi

mi

~~ ;£

a major second higher or in key of C

A minor third higher (or key of Eb)

fa

mi

~

re

j

Do

Do

on a Bb trumpet is is necessary to play

As played on Bb trumpet

so

1

To play a C trumpet part in key of Bb

Trumpet in Db (Reb)

1

mi

J

mi

fa

mi

so

r

Do

on a Bb trumpet is is necessary to play

~~

fa

mi

r r r· 4¥t j r r r r·

To play a C trumpet part in key of G

Trumpet in Db reads

J1'

I r·

r r I r·

mi

~~~ J

j

so fa mire

-a-

do

e do

II

Trumpet in D reads s

and

II

sounds

"

~ ! :E

Trumpet in D (Re)

I r· *Jlj

w j :J

Do so· mi

so

do

(

so mi

ti

so

j

re

I

I I

so

II

do

lrrrrl"

As played on a Bb Trumpet a major third higher (or key of E) Do so mi

so

do

II

and

sounds

Trumpet in Eb reads

'I

Trumpet in Eb (mit-)
Do

!.

Trumpet in E reads

'41

Trumpet in E (mi)

J

Do

mi

II

c

Do

mi

I

--..Do mi

<

I

~7

~

I

~

'

so

..

do

II

Eb

ti

do

do

II

rc

do

ti

-

rc

ti

~l

to-

do

e

II

do

II

II E

J J Ia

II

r

so

II

II

do

ti

-- -

........

l

T

I

so mi

so

- -

T~

rc

r lr

I

or

~~rr ;.vu~

re

sounds

so

-

re

rr rI

Ic

do

I:J

mi

T..

\~ I'}

w

so

1L

If

t

and

ti

r Ir r F F l

so

do mi

~

do

D 'r

::r J J

fl ~ ~I

j

II

so

do mi

mi

so

so mi

r

J :)~~ I ~

I -6-

'~ l

As played on a Bb Trumpet a perfect fourth higher (or key of F)

As played on a Bb Trumpet an augmented fourth higher or in key ofF# Major) or diminished fifth higher (or in key of Gb Major)

rr

J

I

do

ti

n

-

la

so

ti

do

,...

-

"'

I

7

Trumpet in F reads

Trumpet in F (Fa)

and sounds

4t 1 :J J :J I J Do ini

do mi

J IJ J r' mi

do mi

I

II

so

I

do

II

r

mi

so

j

ti

Ia

80

80

As played on a Bb Trumpet a perfect fifth higher (or key of G) Do mi

II

ti

la

80

do

80

and sounds

Trumpet in F# and Gb read

c Trumpet in F#or Gb

w

(Fa#)(German=Fis)(Sol b)(Ger.=Ges)

Do mi

(Rare)

&~~~~na~Tru~ct

so

so

mi

IJ J J J I

mi

atalian: SoD

4t

As played on a. B ~ Trumpet

II

-&-

~~ il

8

do

II

4I r ~~~ t

fa

~~

mi

ao

mi do mi

II

mi re

80

f&

80

do

II

e G.

J IJ J i1 I

t-tt j r r:J IF

mire

-e. do

F 1r

r gl

if

mi

fa

do

so

mire

I I

I

and sounds

J F I F' 0 r I r F 0: Ir· Qr- I

Do

A major second lower( or key of Bb)

domi

mi

Trumpet in Ab reads

As played on a Bb Trumpet

so

mi

and sounds

:J J~) I J

Do

Trumpet in Ah (La b) (German=As)

so

c

Do

A major sixth higher (or key of A>

re

r

Do mi so mi

Trumpet in G

mi

I

~i~~~\~~§~J~r~F~r~i~f~~~~~~~~~~ 4 t- E t- ~ t r I r I• r I _

A mtnor stxth htgher' (or key of Ab) :~

Trumpet fn G reads

fa

fW

-&-

so

do

.mi do

re

r ur lr· Qr

Do

ao do

re

mi do

fa

ti

mi

re do

mi

re do t.i:

re do

I fa

re do

~

Trumpet in Ab reads

I

I

ij

c

~~ F J r r

Trumpet in A (La)

Do

~~-!!_

I

A minor second lower or in key of B

\ :~ <

As played on a Bb Trumpet

t \

.I

·- v

g

fl

As played on a Bb Trumpet

II

•

so

ffil

••

I

j

do

I re

Ij

]

I

I

Do

mi

do so

-

.,..

7

.... T..

.r

rt_

~~Li. u.

""'· ,-.,.,

T..

Ill

T

t.

.... ,

I

-

.....

~0

Ia

I

~

'1'•

"

''"

,...

mi do

-

•

_... L-.

fa

mt

re

do

-

•

---

·~

4

!

_

do

m1

I

r.J

a

II

Bq

mt

I I

do

ffil

J

d')

re

~

........

I

50

I

.,.

r r: - - -

i I•

so

Ia

I

I

j

II

do

re

ffil

....-

and sounds

il

or Do

•

11"

--,..

I

~

~

-·

A

fa

re

I

~

il

'J . . . .

.'"

do

-"'Ii

II

I

r

A minor second higher or in key of Db (

I

""

ffil

II

II

r r r I ,,

1r

c

~t

Trumpet in B4 (German: H) (Italian: Si)

~

-

~

,

.i-lc

so

m1

Ill

,.

,r- ~r

Do so do mi

or

~

Trumpet in B~ reads

-

'·

'r

do

so

i!

and sounds

do

mi re

I I

....;

1'7

I'

-

I

_,

t.::J

·'

I

I

Each transposition should be diligently practised. Volume I of the Ernest S. Williams "Modern Method for Trumpet or Cornet" affords good elementary material. The student should begin with the studies and solos in the key of C as many trumpet parts are written in the natural key and then play solos and studies in F, G, Bb, D, Eb and A. After attaining reasonable proficiency it is then advisable to study the Preludes, Etudes, Characteristic Studies and Duets in this Volume. Some trumpeters use the stationary do. They arrive at the same result by utilizing the following clefs and changing the signatures to meet requirements. Treble

Tenor

Soprano

II :>= Do

c

do

c

de

c

Mezzo Soprano

Baritone

: do

c

II

lg

0

do

c

Bass

119:

Alto

~

II

do

c

II 15

0

II

do

c

9

Studies for Transposition

36 Short Preludes by Ernest S. Williams The benefit of the following Etudes may be enhanced by employing differenct transpositions than those given for first study, always subject to the practical range of the instrument. A Trumpet

p~- li t4J)> Itfg.

1

p

ty• r?f?r Ir?fl'e

lffifJr IttE IrfRc· If- a.. I ~

Itt£; IJ J I .. Ir--rlfr I uffi I ·~- til

p

~

12sim£le J J J IJ

t

A Trumpet

~ ~ e J r J J IJ

2

t

!/"

11

6

~

u

r rr J 1Jr r 1r£ ~ 1r rr r 1J g 1JJJ21;J. s 1 r r1:J r 1~ J It" q '

QJr&

IJ JJ J Ir r' IF. r r FIJ. ~ If J f FI

>-

'

~n!f

A Trumpet

-:J. 6 ~

a

~

'~

r

2 ; I{) J IMFIF' If FIrt r Iti= FI r· IF Jr Ir1' ~ IFJ FI IF ; ~ n!f :j

~

--

-

:-l

'

~

'

Wrr r1rr r 1r- ~ J li.# 1r r 1r a ~11 r Jr1t1 r 1r t 1r 1 J] w1rQ1 !1 '

M!

1

Bq 4 '

Trumpet

I!

·~1 CJ 1J JJ J Ir r IF" t Ij r IFrJJ 1J J IJ. t ~ n 2)J J JJ ®

~ J 2 IJJJ 1 1:J J U JIJ ~I_; 1IJJJJIJ r IJ tiFF IFrrrld r lr- ~~~ f

==--- P--==: Bq

f

P

~

f

cresc.

Trumpet

~

-1 ' j£1 1uJl~r~lr rid ' Jlr J@JJIJ JIJ '1 1J J1~J1r J1Ffr1r rl&rlr J1

5

' 6 &

nif

::f:

'

'

.

' -

r·l4bi&JI@Fir·IJ;JI4dJITIJI!_IJJI4HI tiF EIFFI'~JIJ 21J II ====-P FF D ~ ;f F :::l

I

•

'" 1

:_;

B~ Trumpet

6

:i-

~

1 •:)

JJ Ut!J

UJ. 1 IJ JJ Iill t£) t£j. t If Jr I~j ,Ir ~ rI

,_,_ ~ 2=t:: I '> w= E' 11Hftrrf(:fU tlrulr *lr?JPIW-tU JJIJr rlr ~IJ-tll f nY =====i

-=

p

10

D Trumpet

14

~ Wil 1:) IJ J J IiJ J ' IJ J JIJ. ' J IJ J J IJ

~ ijt F r F I (Jl ,r IJ

r J IJ ' l

D Trumpet

15

lj J J JIr· ' J I

CJ

I J J J IJ' J J J Ir r J J I ;J.

II

bw 1J / UrJJ 1J. l 1JJJiJ 1J~ r J1IJ d1

~ ? ~~ -rf, r pJ f 1Jl• + ;r 1;. ~ 1

p· ___....

.

~

.

~

mf

t w ana 14@ 1Jill114!QitJ tJ 4r 1J iu J 1J. tl 1 1

.

mf

w

u r'1 r'f'r J1r· ~a

E~ Trumpet

16

~~

I

J : J IQ t lj J j J IJ_) ~

4'-"""' "'151-__..,...

'-""'

mf

lg JJ ;I J

---

'-""

'-""

J t 1$ D I@ l I

~

~ f t@- j 1 I l .PIJ~?;Jj ! IJ ll ~ mf.._/ I I J j'-"'JIB * I0 J-.. . _;JI~~i til 77

Eb Trumpet

17

- w J J Ij

~

w' 1r J w 1r ;' 12 w i¥3 n J 1JJJ J 1E 11 rr J 1r J' 1r ~ a1w. n

-- r

(I

mf

' I 7.r

I~ J T I IJ t IJ -j _...: Ij -

4' I I j

__._

J I J t I~ J j JI

f

E~ Trumpet

1s '~~ p uIJ J I!Qu 'tti/J t.J

12

.-6-

u

w

I~J lt!J}'1+ IJ a14JJ IJaw 1r:l"!1...,E'l '•

crtJSC.

13

G Trumpet

2s

~ ep 2 J I J J 1J J IJ. t lg... J I 1 J IJ 1 11 t I ~

-9-

'7!.)".

1 1 '""117 -61-

I J J' I J I

--=- ==--

1 -9

--===

(j ===j J'I J j lj I I I I 11. l IJ j IJ j I I lJ IJ. ~ I J J I J I IJ J I I +

14

?)- 4

r;

4

~

~

4.

I

II

Special attention here is called to the two terms: G Trumpet and G Cornet. A Trumpet in G-part is transposed up a Major sixth, whereas a Cornet in G-part is transposed down a minor third.

G Cornet

314

''JEifr 16fitr l@r 1Wtr t 1fr 171 U?i 1

~ ff ICBrt Irs!fJ· t IYfG•· Iffi?' I0 jiG IQ Ir· ~ II G Cornet

32·f at (Tt fJJ'J IJ J I UJ I C£l *IF tlr 4JiJ 1J J I J mp

f

~

'--..:,./

1 l

1

'-...__.;

~ .. I -'r l=i~· I F-' Ir.r--r ~ g........__...1J t IJ J IJJJ);~ I J'IJ~ ~1-ffl r. IF 'IfrF IH I ~p II ·~-

C1"8SC.

G Cornet

f i 4dJ I flE· 'I UJ I rnr t IW I Gr, I [d I At

*I

f r7fl: I JQ;r·'l@ I Lw 'flfi?r lf{W I J. I r I C I~

~II

33

11if

poco C1"8sc.

Gb Trumpet

34

~ 13p J J lj. J. lj~1 I J ~ IJ. J IJ J i j

1:; ~

I

...___.,-9-

~ 1 J 1J ' w 11 mf-&-~

w

1

J

~

*

1

1

r

w' a

pJ

f~~

1

•

2~.-f!i..·. w 1 ~

11

1

Gb Trumpet

35

f i D IJJI;J I;J IJ J I /I J) IJ J b:tlo 1 1J J I[iiJ] IJ; I mf

._,

+

._.,

crtJSC.

i:;#._ J :t' 14] I J J 1J J}4JF I J J IJliJJ I JJ IJ !JJ I;J 1J -1

F~ Trumpet

3 6 ~ ;{

J&

'tlif

'

'

Jf4 w l I @ J IJ 1 I I t IJ J I i JIJ] I i II J -........____:_. -~

-

:./

J J IJ tl Jt!dlt4 j IJ t I JdfdlJJ lj t I .

~

I4_~-~L~ t II

_......_,.

. _...._,

I

~

-*..-/

....

-.

I 4:·! lot I {I J I:J JI -

-rl"·

-

-

~

I~ I -.

1.1

l.ll

4~4

15

50 Etudes

A Trumpet

Vivace

By ERNEST S. WILLIAMS

4Yti1 {J )J ft t t Ift. Ef Q- S' IlJ Jd i:!J JJ Iffi E~ ~ ~-~ i~ J;Jnwq~JI.D!nJ~J IJJn au lc ficcu 1lJJa E~Efl 1

mf

F -

stm
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~

@ ~j §Jj1=3 I!JJWh_JJJI§q]]JJIOljJJ@JJ lfrJJJgrUI 0

~¥, WfHf f l(ir[fet-g:; iR- rr IZb Ii_.d 3DJ~IJ r I J A Trumpet

II

·


·Allegro

2

~~eJ~g;r5ij!fltJngg_jryn tWull~ 1

4Y. ftdffu a a IJ wh" &rUG lr· t 1~ffl .e~~ 1~--· -~·f 1 ==-

~~ !fiT~ VI•J. tJf

IMJc"V §

p

J

p

·====

-===·

lf9 ®if® Er E!r pJ JgJ J 1

1

~Y.m_;:npQJJ iJ Dg-U~trR lif!fj JJJJ; ~~I ~~h j #J •J tJ JJ CJ f{

51 IrEp Js-zp t•Cp J.t~ I~·=# JiJ)

4th §Fd &f IBJ] jJ]]J J IJ n trC!ECb!E r IF' 1

16

1

t I

A Trumpet


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9

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ct

:t

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~Y

¥

1

~

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1

>-J

;::::.

::> 3

J.SJJJ.!Igo: rJrfiF ~c]E ~e r r-rr;IO ([to rJr'f I >-,]

.

t ~t:EJ J atf& JJJ. alqJ)J. a~J.a IE c& a J t 3 33.

1

1

--=::::::::

11

...

A Trumpet·
Presto

4

~-~mffflJ~J ..... CfJ. idJt;D c:fr IEfJJV EiJ I@JJP tfj I

~~

ffi tp72 QJ I£2M. EfJ R JI@ JJ3#fJ IJJ~J J~:.0 R JI J

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3

. . .,. ....

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~-

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~--'!

3

J

3

3

RJwp i 1d;@J dr I~Eftgrd& 1c&aP Ef!r 1E&if $

~ ~ 4J~W5?1QJJEH§ffliJ?JJJ3@1Efj@tftidFEEtEf± I C1'Y18C.

3

17

A Trumpet ~

Maestoso

5

~ el r ir;@ EIQ F !F

r r I J. r irt_J F IOf f

f

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29

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12 CHARACTERISTIC STUDIES A

Trumpet_.


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