I find composing for transposing instruments hard?

Question

So I have gotten into writing orchestral works and I have a bit of a problem. You see, I can transpose, but I am not used to adjusting the notation of the transposition.\n\nSo if I transpose from C to Bb, I typically just change the key signature to Bb, transpose, and then leave it at that. I don't typically adjust it so that Bb is in the position C is in on most instruments. That looks to me like I would be going forwards with both and than backwards with the notation.\n\nI was thinking that until I get an intuition for the different transpositions and what instruments require it, I should write a chart on a piece of paper where the first column is the concert pitch column for reference and then I transpose the individual notes of the chromatic scale to these keys:\n\n - Bb for Bb clarinet, euphonium, tuba, saxophone(sopranissimo, soprano, tenor, bass, and subcontrabass) and brass band)\n \n - Eb for Eb clarinet, saxophone(sopranino, alto, contrabass)\n \n - F for French horn, English horn, and Basset horn(essentially an F clarinet)\n \n - G for alto flute\n \n - A for A clarinet\n \n - Ab for piccolo clarinet(if I ever write for it)\n\nBut how would I get an intuition for it? I mean after years of transposing piano music and after researching transposing instruments, I still have trouble writing for clarinet and especially French horn or alto flute.

Answer 1

The best approach for transposing instruments, IF you con't feel comfortable writing/reading the transpositions is to write them at concert pitch and use notation software to automate the process of transposition. What matters most is for the player to receive a part that is properly transposed. You can even decide to leave the score entirely in C (concert pitch), as long as you indicate that clearly on the score, should you be handing such a score over to a conductor.

Of course, there's no substitute for practice in transposing, both writing and reading such scores.

A good set of principles/practices are as follows:

For most Bb transposing instruments, just think of them as sounding a whole step (Maj. 2nd) below notated pitch or notate them a whole step higher than you want them to sound.

For A transposing instruments, think of them sounding a Min. 3rd below notated pitch or notate them a Min. 3rd higher (one line/space on the staff higher) than you'd want to them to sound.

Horn in F is a little bit of a strange animal in the sense that in older scores, you will sometimes see them notated in bass clef a 4th lower than sounding (instead of a 5th higher than sounding, which is the modern norm). Also Horn in F is usually written without key signatures and instead just uses accidentals.

There are also a few instruments that transpose up rather than down, so you just need to be aware of those. A good book on orchestration, like the Samuel Adler, Kent Kennan-Donald Grantham or Walter Piston books can provide detailed info on transpositions.

Again, the more you practice writing transpositions, the easier it will become.

Good luck, and feel free to ask me any questions by message.

-HowardF