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A Guide to Sight Transposition for the Saxophonist

Doctor of Musical Arts

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Lucas Hopkins

Lucas Hopkins

A Guide to Sight Transposition for the Saxophonist

2021

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Lucas Hopkins

A Guide to Sight Transposition for the Saxophonist

Sight transposition is a useful skill for saxophonists to possess for teaching and performance situations. This guide provides practice strategies for working on sight transposition and gives detailed descriptions on how to perform various transpositions that saxophonists may encounter.

ATom Myer

A GUIDE TO SIGHT TRANSPOSITION FOR THE SAXOPHONIST

PEDAGOGY PROJECT

by

LUCAS HOPKINS

B.M., University of Minnesota, 2012

M.M., Northwestern University, 2014

S.M., University of Michigan, 2016

A thesis submitted to the

Faculty of the Graduate School of the

University of Colorado in partial fulfillment

of the requirement for the degree of

Doctor of Musical Arts – Saxophone Performance and Pedagogy

College of Music

2021

2

A Guide to Sight Transposition for the Saxophonist By Lucas Hopkins

Transposition Basics

The saxophone is a transposing instrument, meaning that the sounding pitch of a note on the

saxophone will sound different than the written or played note. Oftentimes, non-saxophonists

will ask why the saxophone needs to be a transposing instrument, or why can’t all instruments be

in the key of C? Wouldn’t that make things easier, eliminating the need for transposing parts?

Although this would simplify one issue, it would create new problems that the performer would

have to deal with. If this were the case, you would have to learn multiple sets of fingerings for

the different saxophones. This is the case with recorders, for example. Recorders are all C

instruments, even though a family of recorders in various sizes exist. Therefore, fingerings for a

soprano recorder are different from that of an alto recorder. Although a similar approach could

theoretically be possible with saxophones, this would certainly make playing various saxophone

sizes more of a challenge. Given that most saxophones are in Bb or Eb, saxophonists are

constantly dealing with transposition. However, in most cases, this simply means they are

reading a part that was already transposed for them. Although most saxophonists don’t deal with

sight transposition on a regular basis, having the ability to transpose at sight without writing out

a new part has many practical benefits in performance and teaching situations. This document

will cover various methods for transposing at different intervals and discuss practical ways for

going about practicing sight transposition.

Most saxophones today are keyed in Bb and Eb, although a lesser-known family of

saxophones in C and F exist and are rarely used. Let’s examine what it means for an instrument

to be in a certain key. If a piano, flute, or any other C instrument plays a C, then it will in fact

sound like a C. However, this is not the case for the saxophone and other transposing

instruments. In essence, we can say that an alto or baritone saxophone is in Eb because when

these instruments play a C, it sounds as if an Eb is being played. On the other hand, when Bb

saxophones such as the soprano and tenor, play a C, it sounds as a Bb. Therefore, to figure out

the concert (sounding) pitch for a Bb saxophone, you simply can think one whole step lower.

Conversely, think one step higher when determining the played/written pitch from concert pitch.

For Eb saxophones, you can think up a minor third or down a major 6th to determine the concert

pitch from a played/written pitch. To go the other way, think up a major 6th, or down a minor

third to determine the played/written pitch from concert pitch. Additionally, one should be aware

of how to transpose to the correct octave. For example, the alto saxophone sounds a major 6th

lower than written (A written A4 sounds as a C4), whereas the baritone saxophone sounds an

octave plus a major 6th lower than written. The soprano saxophone sounds a major second lower

than written, while the tenor saxophone sounds a major ninth lower than written.

Saxophone transpositions from the sounding pitch

Eb Sopranino: sounds a minor 3rd higher than written

Bb Soprano: sounds a major 2nd lower than written

Eb Alto: sounds a major 6th lower than written

Bb Tenor: sounds a major 9th lower than written

Eb Baritone: sounds an octave plus a major 6th (13th) lower than written

Bb Bass: sounds an octave plus a major 9th lower than written

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Practical uses for sight transposition

As a saxophonist, there are many performance and teaching situations in which the ability to

sight transpose would prove useful. Several practical uses are listed below:

• Playing transcriptions of solo repertoire by various instruments.

• Playing missing parts in an ensemble.

• Reading jazz lead sheets in C.

• In doubling situations such as pit orchestras, to cover parts for instruments that you do

not play.

• Having the ability to play your part in a different key, if requested by a vocalist.

• To demonstrate a part for an instrument in another key, in teaching situations.

• Improved ability for reading and analyzing scores.

• Ease of harmonizing melodies.

Tips for sight transposing

There are various ways one can think about transposing, however, there are some basic skills

one should possess to have success with sight transposition. Knowing your intervals, scales and

scale degrees is extremely important. Without thought, you should be able to automatically name

any interval above any given note. Additionally, having the ability to quickly visually recognize

intervals, scales, patterns, and arpeggios in music is very important.

Besides simply thinking a specific interval above every note of a piece of music while

transposing, various strategies can make the task of sight transposing easier and more

manageable to get started with.

• Start simple! When starting to transpose, start with simple melodies such as out of a

beginning method book. Gradually increase the difficulty.

• Play melodies that you are familiar with. Even if you are in part relying on your ear to

figure out which notes to play, be sure to make connections between the note you are

seeing and the fingering you are using.

• Play the music as written first, without transposing. This can help you become familiar

with the music and its intervals before attempting to transpose.

• Think about the new key signature that you will be playing in after transposing.

• Think horizontally, not just vertically! If you see a scalar pattern, leap of a 3rd, arpeggio,

etc., then just think of doing that from the note you start on. You don’t always have to

think about every single note.

• If something is above your ability to sight transpose, just practice as you would normally

practice a difficult piece of music. The more you practice transposition, the better you

will get at it!

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Helpful Transpositions for the Saxophonist

Methods for dealing with some of the most likely transpositions that a saxophonist may

encounter are described below. Remember: no matter what transposition you are doing, think of

the new key signature and think horizontally, not just vertically!

Reading C parts on Bb saxophones and reading F parts on Eb saxophones

-Read up a major 2nd

This transposition is fairly straightforward; simply think up a whole step from the written notes.

With a bit of practice, this transposition should come without too much thought.

Reading C parts on Eb saxophones

-Read up a major 6th/down a minor 3rd

or

-Think of your concert pitches

There are two basic ways of performing this transposition. You can think up a major 6th, or down

a minor 3rd from the written notes, adjusting the octave as necessary. Alternatively, as an

advanced saxophonist, hopefully you know the concert pitches of your instrument from memory

and can think of them without thought. Using your knowledge of concert pitches is an effective

way for going about this transposition. If you see a C, play a concert C (A on saxophone).

Remember to think horizontally, as you don’t necessarily need to think of the transposition for

every note you play.

Reading bass clef on Eb saxophones

-Read in treble clef and adjust the key signature

This is one of the easiest transpositions to do. To read bass clef on an Eb instrument, you

essentially pretend it is in treble clef, change the key signature, and read as is. You can

essentially ignore or cross out the first three flats, or add 3 sharps, to the printed key signature. In

other words, raise the printed accidental by a half-step on notes that look like a G, C, and F in

treble clef (B, E, A in bass clef).

Example 1:

First, we pretend this is in treble clef. Then we change the key signature. This example has 4

flats, so the key signature for an Eb instrument would have 1 flat. So, if you see a note that looks

Pretend this is treble clef Play as C#

5

like a Gb, Cb, or Fb, you play these as naturals. In measure 3 of this example a E natural is

printed, in treble clef, this looks like a C natural. However, as previously mentioned, we need to

raise notes that look like a C in treble clef, therefore this should be played as a C sharp.

Example 2:

This example has 1 sharp in the key signature (G major), therefore after changing to treble clef,

this should be played with 4 sharps (E major). In other words, notes that look like F, C, and G

natural in treble clef should be played as sharps.

Reading tenor clef on Bb saxophones

-Read in treble clef and adjust the key signature

This transposition is very similar to reading bass clef of Eb instruments. The only difference is

that instead of adjusting the key signature by removing 3 flats/adding 3 sharps, you only raise the

key signature by 2 accidentals. In this case, you only play one accidental higher for notes that

look like a C and F in treble clef.

Example:

Play F#

Pretend this is treble clef

6

Reading Bb parts on Eb saxophones

-Think up a perfect 5th

or

-Use the “pretend like you are playing clarinet method”

There are two primary ways you can go about thinking of this transposition. You can think of

playing a perfect 5th above the written notes and adjust the octave as necessary. This

transposition results in a key signature that has one less flat/one more sharp than the written part.

Alternatively, if you play clarinet, there may be another approach to thinking of this

transposition.

For this transposition, you can essentially use clarinet fingerings on the saxophone. For

example, a C (concert Bb) below the staff is played with fingers 1, 2, 3 on clarinet. To transpose

that note on an alto saxophone, just finger a clarinet “C” which happens to be “G” on saxophone!

Another example, Hot Crossed Buns on clarinet (E, D, C) is fingered exactly the same on alto

saxophone, but the notes are B, A, G. So, if you are reading a Bb part on alto, just use clarinet

fingerings.

Note: because the clarinet does not have an octave key (rather a 12th key), it has different

fingerings for notes of different octaves. It is therefore necessary to always pretend like you are

playing the lower register of the clarinet and add the octave key if needed. For example, if you

see a “B” in the middle of the staff, instead of using the clarinet fingering for a “B” in that

octave, use the fingering for the low “B,” which is the same fingering as “F#” on saxophone.

Then add the octave key to put it in the right octave (or don’t if you are reading a tenor sax part

on alto and need the note to sound lower than written).

The other thing you must be aware of are the notes “F” and “F#”. There is no clarinet equivalent

fingering on saxophone of just the thumb (F) or first finger only without the thumb (F#). So “F”

equates to “C” and “F#” to “C#” on saxophone. But you can just think of the fingerings for low

“F and F#” on clarinet and play that on saxophone, which is the same fingering as low “C and

C#” on saxophone, taking it up the octave if needed.

Example 1:

The fingerings of the above example on clarinet are the exact same fingerings that would be used

on saxophone with the bottom example. The sounding pitch is the same.

7

Example 2:

While using clarinet fingerings on the above example, there are a couple of things to be aware of.

Remember to use lower register clarinet fingerings. For example, the G in m.2 should be

fingered an octave lower as indicated in parenthesis. This has the same fingering as a D on

saxophone. Add the octave key to play in the correct octave. Additionally, make sure to finger a

middle C on saxophone for the F in m. 4 and not use the clarinet fingering for this octave.

Tenor clef on Eb instruments

-Read in treble clef, change the key signature, and transpose up a 5th or use the “pretend like

you are playing clarinet method”

Change the clef to treble clef and adjust the key signature by adding two sharps. Now we

essentially have a part for Bb instruments. From here, transpose up a 5th or use clarinet fingerings

as previously described. Although you essentially change the written part to have a key signature

with two additional sharps (creating a part for Bb instruments), after transposition, the resulting

key signature that is played has three additional sharps.

Example:

8

Add two sharps and read in treble clef

Now transpose the same way you would transpose a Bb part on an Eb Instrument, going up a 5th,

or using clarinet fingerings. After transposing, a Baritone saxophone wold play the upper notes

in the following example and an alto saxophone would play the bottom notes.

Bass Clef on Bb Instruments

-Read as is in bass clef and go up one step.

or

-Pretend it is in treble clef, change the key signature, and read up a perfect 4th.

Depending on how comfortable you are with bass clef, you can use a similar approach as

described for reading C (treble clef) parts on Eb instruments. For example, if you see an F, play a

concert F, or think up one whole step. Given that most saxophonists are not accustomed to

reading bass clef on their instruments, the thought process required to think of the letter name

you see, in addition to thinking a step a above that may make playing faster music difficult.

Remember to think horizontally and of your new key signature (with two additional sharps).

Alternatively, you can think up a 4th from what the notes look like in treble clef. To do this,

pretend the part is in treble clef and add three sharps to the key signature. Now you would have a

part for an Eb instrument. From here, you can think up a perfect 4th.

9

Example:

If using the think up a 4th method, change to treble clef and adjust the key signature by removing

3 flats/adding sharps.

This is now essentially a part for Eb saxophones, so going up a 4th from each note results in a key

signature that is only raised by 2 accidentals from the original. Adjust octave as necessary.

Alto Clef on Bb Instruments

Pretend like it is in treble clef and read up a third, in accordance with the new key signature.

To do this transposition, change the clef to treble clef and adjust the key signature by removing

two flats/adding two sharps. This will dictate whether to play a minor or major third up from

what it looks like in treble clef.

Example:

Read in treble clef. Given that our new key signature has three sharps, let this determine whether

you play a minor 3rd or major 3rd above the note you see.

10

Alto Clef on Eb Instruments

Pretend like it is in treble clef and read a ½ step lower (with exceptions).

To do this transposition, change the clef to treble clef. Play down a ½ step for most notes.

Because of the half steps between “C and B” and “F and E”, when you have these notes in alto

clef (or notes that look like a “E and B” in treble clef), you actually have to read down a whole

step for these. Think about your new adjusted key signature as this will also help.

Example:

Read down a ½ step from how the notes would appear in treble clef. For example, the first note

looks like an F, so play and E. In the second measure, when taking the printed key signature in to

account, this note looks like and E# in treble clef. Notes that look like E’s are exceptions to the ½

step rule, and need to be played a whole step lower. As a result, this should be played as a D#.

Additionally, the note that looks like a B in measure 3 should also be played a whole step lower,

as an A natural. Alternatively, you could think about this a different way and let your new key

signature determine whether you play down a ½ step or whole step.

Transposition by any other interval

It is possible that you may come across a situation that requires you to perform a transposition

that differs from one of the previously described intervals. No matter what interval you transpose

by, remember to think horizontally in addition to vertical intervals. It will also be helpful to think

of your new key signature. For example, if you were playing a piece of music written in E major

(4 sharps) and you needed to transpose up a minor third, you could simply think a minor third

above E and this would be your new key signature. In this case, after transposing, you would

think of playing in G major (1 sharp)

Whole step down Whole step down

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Extra Transposition Practice

Schumann. Dichterliebe, “Im Rhein, im heiligen Strome”

C part:

1. To familiarize yourself with this melody, try playing it as written first, without

transposing. Identify scalar passages and simple intervals such as thirds.

2. Think of your new key signature. If you are playing a Bb instrument, add two sharps; add

three sharps if you are playing an Eb instrument.

3. It may be helpful to play the scale for the key that you will be playing in. F# natural

minor (A major) if transposing on a Bb instrument, and C# natural minor (E major) if

transposing on an Eb instrument.

4. Sight transpose! Think up one whole step for Bb instruments. Think of your concert

pitches for Eb instruments, or try to visualize the notes one line or space below the

written note (adjust octave as necessary).

5. Remember, you don’t have to necessarily think of the transposed note name for every

single note if you can visually recognize scalar passages and certain intervals.

a. This particular example is very scalar. For example, if you were transposing on an

Eb instrument, think of your starting note which is C# (concert E), then just go up

the scale without much thought to each note name. When there is a larger leap, as

in m.4, think of what note a concert C is on your instrument, then go down the

scale.

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Bb part:

Eb Part:

Transposition up a 5th, as if you were playing a Bb part on an Eb saxophone:

Follow the same steps as mentioned above and think up a 5th, or use the “pretend like you

are playing clarinet method.” This transposition results in a key signature with one

additional sharp.

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Schumann, Dichterliebe, “Im wunderschönen Monat Mai”

C part:

1. To familiarize yourself with this melody, try playing it as written first, without

transposing. Identify scalar passages and simple intervals such as thirds.

2. Think of your new key signature. If you are playing a Bb instrument, add two sharps; add

three sharps if you are playing an Eb instrument.

3. It may be helpful to play the major scale first for the key that you will be playing in. B

major if transposing on a Bb instrument, and F# major if transposing on an Eb

instrument.

4. Sight transpose! Think up one whole step for Bb instruments. Think of your concert

pitches for Eb instruments, or try to visualize the notes one line or space below the

written note.

5. Remember, you don’t have to necessarily think of the transposed note name for every

single note if you can visually recognize scalar passages and certain intervals.

Bb part

Eb part