D Major Trumpet Scale? Top 23 Best Answers

Calculate the interval from C to the key of the instrument. This is the interval that the instrument will transpose. For example, from C to Bb is a descending major second (or ninth). Bb instruments transpose down a major second (or fifth). Eb instruments transpose up a minor third or down a major sixth.

Bass clef transpositions for horns and trumpets are based on old notation found in Mozart.

Learn how and why to use the modes in this lesson. They’re as easy to play as the major scale, but you need to know how they work to play them properly. In this lesson you will learn everything you need to know about the modes!

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Core principle of modes

The key to playing the modes is your note selection based on the chord currently being played. Keep this in mind throughout the lesson.

Modes can be derived from the major scale and contain the same exact notes. Why learn a new name for the same notation? The main reason is to help you focus on the tonal center of the chord instead of the tonal center of the scale. This rethinking will help you unlock new sounds. It will also help you play over EVERY chord, even the obscure ones that come up.

The two reasons to play the modes:

You want to be able to improvise over every chord. Your improvisation ideas sound the same and you want to break out of this rut.

Doesn’t that sound useful? The good news is that the modes are as easy to play as the major scale. In this lesson, I’ll show you two ways people learn the modes. In my opinion, the best method depends on how you learn. I’ve heard passionate arguments for both, so I’ll provide both.

How the modes work – very important!

Before we talk about modes, we need to talk about harmony because learning modes is all about the interplay of harmony (chords) and mode. To fully understand and use the modes properly, you need to know this theory. Most mode lessons confuse people because they skip this information.

If you don’t have a good understanding of the major scale, key signatures, chord structure, and diatonic harmony, you may want to purchase Guitar Lesson World The Book, which covers all of these topics (including the modes and more). Playing the modes is easy, but understanding them requires a good knowledge of music theory.

Diatonic Harmony 101

Diatonic harmony is all about knowing the chords that come out of a key. Most songs are written in one key. Keys have a tonal center or tonic toward which harmony tends. Chord progressions within a key are considered diatonic chord progressions. They contain chords that use only the notes of the key. There are still a few things to know, but let’s make sure we know enough about keys and diatonic harmony.

When you play in the key of C, the chord progressions tend towards a C major chord. In other words, when you play a C note, it feels like the song is finished. It releases all tension. To learn this feeling, play the following chord progression C-F-G. It should sound unfinished. Now play C-F-G-C. It will sound finished. That’s what I mean by gravity or resolution to C.

C-F-G

C-F-G-C

The key of C uses the C major scale, which consists of 7 notes: C, D, E, F, G, A, B. Each of these notes corresponds to a degree of the scale, which is a Roman numeral that indicates the order within the major scale. I=C, ii=D, iii=E, IV=F, V=G, vi=A, vii=B. You’ll notice that I’ve capitalized some grades and lowercase others. I’ll explain that later.

i ii

iii

IV

v

vi

vii

C D E F G A B

Each degree is also associated with a specific chord. If you only use these chords, you are playing a diatonic harmony or a diatonic chord progression. You will notice that the capital letters use major chords and the lower case letters use minor chords. The vii is diminished, which contains a b3 (minor third), so it’s also lowercase. It is called flat instead of minor because it also has a flat fifth.

i ii

iii

IV

v

vi

vii

major minor minor major major minor diminished

Each note within a key corresponds to a degree of the major scale. Each degree is also associated with a series of chords using the notes of the major scale.

This tells you that you can take the major scale, degree and associated chord and form a diatonic chord progression. For example, in the key of C you would have the following chords:

i ii

iii

IV

v

vi

vii

C D E F G A B C major D minor E minor F major G major A minor B diminished

They can also have chord extensions like seventh chords, ninth chords, etc. I’ll cover these later in this lesson.

How modes relate to diatonic harmony

This is where it gets interesting. Each of the 7 modes corresponds to the same degrees as the chords mentioned above.

i ii

iii

IV

v

vi

vii

Ionian Doric Phrygian Lydian Mixolydian Aeolian Locrian

You’ve learned that diatonic chords all tend to the tonic (I chord). When you play a chord, the notes within that chord tend toward the root of the chord. You have two attractions. Modes help you emphasize the gravity of the chord. The feeling changes due to the harmony it is played over. In other words, the chord progression relates to the gravity of the song. The mode refers to the gravity of the chord. When played correctly, it emphasizes the chord and its harmony. I’ll cover how to play them correctly later in this lesson.

The chord progression relates to the gravity of the song. The mode refers to the gravity of the chord.

Listen to the modes

Below you can listen to each mode played note by note over the appropriate diatonic seventh chord. The chord repeats each measure. The mode begins in bar two and plays all notes plus the octave. From bar 2 I play one note of the mode per bar. All notes should sound good, but some will sound better than the others. Let your ears tell you the best tones. It should switch from mode to mode. Listen a few times to see if you can spot them.

Mode Chord Mode Notes Audio C Ionian C major 7 C-D-E-F-G-A-B-C https://www.guitarlessonworld.com/wp-content/uploads/2015/12/cmajorvamp.mp3 D Dorian D minor 7 D-E-F-G-A-B-C-D https://www.guitarlessonworld.com / wp-content/uploads/2015/12/ddorianvamp.mp3 E Phrygian E minor 7 E-F-G-A-B-C-D-E https://www.guitarlessonworld.com/wp-content/uploads/2015/12/ephrygianvamp.mp3 F Lydian F major 7 F-G-A-B-C-D-E-F https://www.guitarlessonworld.com/wp-content/uploads/2015/12/flydianvamp.mp3 G Mixolydian G7 G-A-B-C-D-E-F-G https://www.guitarlessonworld.com/wp-content/uploads/2015/12/gmixolydianvamp. mp3 A Aeolian A minor 7 A-B-C-D-E-F-G-A https://www.guitarlessonworld.com/wp-content/uploads/2015/12/aaeolianvamp.mp3 B Locrian Bm7b5 B-C-D-E-F-G-A-B https://www.guitarlessonworld.com/wp-content/uploads /2015/12 /blocrianvamp.mp3

If you haven’t figured it out, most people think the chord tones sound best. In each of the modes above, these are the 1st, 3rd, 5th, and 7th notes of the mode. For example, the chord tones of Dm7 are D, F, A, C. These notes probably sound best above Dm7.

We want to play the best notes. Since they change from chord to chord, we need to use modes that help us use the best notes!

All grades are good, but the best ones change with mode. That’s why we need the modes!

Feels connected to the modes at times

Although the feel of modes is personal and largely based on note selection, modes are sometimes associated with a specific feel. I have listed some descriptions. Play a mode over a progression and see if you can spot similar qualities.

i ii

iii

IV

v

vi

vii

Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian Happy Soulful Flamenco Bright Bluesy Sad Sinister

Theory to take away

Before I continue, let’s review the theory you learned in this section.

The key, major scale, degrees, chords, and modes are all related.

Diatonic chord progressions within a key tend towards the I chord

Notes in a chord tend toward the root of the chord.

Properly played modes emphasize the harmony or gravity of a chord.

Modes are needed to play the best notes for the current chord!

Two ways to learn modes

Modes are taught in one of two ways, in series or in parallel. When you learn in a series, you learn all the modes in one key. If you study in parallel, you learn all modes that start with the same note. Both are useful to know.

modes in a key or series

You learned that the modes refer to the key of the major scale. Now you will learn that the modes use exactly the same notes as the major scale. They are remembered by their tonal centers, which are different from the tonal centers of the major scale (except Ionian). They are actually moved. The table below shows the modes in a row as they relate to the button. One method of playing the modes is to use the major scale (and its patterns) but pick your notes based on the mode shift. I’ll discuss the patterns later in this lesson.

Modes should not be used like a scale, but as a framework to find the best notes for the given chord.

Note selection is an important point to remember. If you don’t highlight the mode’s better notes in relation to the chord, you won’t get the feel of the mode. This method doesn’t tell you much about why some people don’t like teaching the modes this way.

If you don’t emphasize the mode’s notes in relation to the chord, you won’t get a sense of the mode.

Mode Notes

Ionian (major scale)

C D E F G A B C Dorian D E F G A B C D Phrygian

E F G A B C D E Lydian

F G A B C D E F Mixolydian

G A B C D E F G Aeolian (minor scale)

A B C D E F G A Locrian

B C D E F G A B

modes in parallel

Another way to learn the modes is parallel. This means forgetting about key and learning modes that start from a single note. For example, C Ionian, C Dorian, C Phrygian, etc. To do this, you need to know how to change the major scale to form the mode you want.

Parallel learning modes are great for two reasons.

You only need to know the current chord in the progression (so you don’t need to worry about the key). The modal differences are more obvious since you need to change the major scale. This can help you play in a way that feels right for you.

Mode Grades (relative to the major scale) Ionian

1 2 3 4 5 6 7 Dorian

1 2 b3 4 5 6 b7 Phrygian

1b2

b3

4 5 b6

b7

Lydian

1 2 3 #4 5 6 7 Mixolydian

1 2 3 4 5 6 b7

Aeolian

1 2 b3 4 5 b6

b7

Locrian

1 b2 b3

4 b5 b6 b7

Seventh chords and modes

You can combine the table above with the chord construction formulas to determine the seventh chords that can be played across the modes.

Major chords follow the formula 1-3-5-7. Both Ionian and Lydian modes contain these notes; therefore any mode can be used.

Minor chords follow the formula 1-b3-5-b7. Dorian, Phrygian, and Aeolian all contain this formula, so any of them can be played.

Dominant chords use the formula 1-3-5-b7. Only Mixolydian mode flattens the 7th without flattening the 3rd.

Diminished chords use the formula 1-b3-b5 and minor 7b5 chords use the formula

(1-b3-b5-b7). The only mode with a b5 is the Locrian mode; hence it is used over diminished and min7b5 chords.

I just made a big implication. These seventh chords also belong to diatonic harmony. They stand out when discussing modes in parallel with chord formulas. The table below expands on the diatonic chord options we discussed earlier. You’ll notice that we’ve added chords, but some modes are played over the exact same chords. For example, degree modes ii, iii, and vi can be played over the same chord types. In the next section we will discuss some chord extensions that will differentiate these even more.

i ii

iii

IV

v

vi

vii

Main

Major 7 minor

minor 7 minor

minor 7 major

Major 7 Major

Dominant 7 minor

Minor 7 diminished

minor 7b5

When using seventh chords without extensions, use the table below to find a compatible mode.

chord quality

mode

Major, Major 7 Ionian, Lydian Minor, Minor 7 Dorian, Phrygian, Aeolian Major, Dominant 7 Mixolydian Diminished, Minor 7b5 Locrian

chord extensions

Chord extensions can get a little snag from this simplistic approach because they use the 2nd, 4th, and 6th degrees of a scale (also known as the 9th, 11th, and 13th). The following general rules apply when you have a chord with a 9th, 11th, and 13th

If a major chord uses an 11th, use Ionian instead of Lydian since the Lydian mode has a sharp 11th (or 4th).

Use Mixolydian for all dominant chords.

For minor chord extensions, use dorian by default

If the minor chord has a b13, play Aeolian or Phrygian.

If the minor chord has a b9, use Phrygian.

Chord extensions are advanced harmonies. If you’re new to modes, remember that mode options decrease as chord complexity increases. Once you’ve mastered playing over seventh chords, you can be more selective with chord extensions.

The mode options decrease as the chord complexity increases.

Quick review

Before we move on to the next section, which covers all of the modal patterns, let’s review what we’ve learned.

Modes in a key use the same notes as the relative major scale, they just start and end differently.

Modes can be learned in parallel by modifying the major scale.

The mode to use over a chord can be learned by knowing how to form parallel modes.

As the chord complexity increases, the mode selections decrease.

How to play the modes

Finally I come to the actionable part of the lesson. Make sure you fully understand the above theory. Without them, the modes don’t feel useful. The good news is that modes are often an outlier because they allow you to play in new and exciting ways.

hint selection

Mode patterns in a key or series

Determine the level of the mode you want to play (Example: Dorian starts at 2nd level). Choose a box pattern Use the number of degrees as the root of the chosen pattern.

Box 1 Box 2 Box 3 Box 4 Box 5

example

Mixolydian is degree 5 Choose a box pattern: Box 1 Chosen pattern rooted in degree. Note that the root notes are the 5th degrees of the major scale

Mode pattern parallel

To apply the modes in parallel with the patterns, we can take the two basic patterns of the single octave major scale (ionic mode) and modify them for each mode. The table below shows the two basic patterns for each mode.

You can combine the two patterns to create a box pattern or a diagonal pattern. Practice moving these patterns to other sets of strings (don’t forget to move the pattern if you’re using the 2nd and 1st strings).

Mode pattern 1

pattern 2

Ionian Dorian

b3, b7 Phrygian

b2, b3, b6, b7 Lydian

#4 Mixolydian

b7 Aeolian

b3, b6, b7 Locrian

b2, b3, b5, b6, b7

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Conclusion

I know this was a loaded lesson. Modes are easy to learn from a paragon standpoint, but have a lot of depth in their use. Take your time playing and listening to the notes you are using as you play the diatonic progressions. This is the only way you really learn to use the modes effectively!

D major scale on the piano

Learn how to play the D major scale on the piano!

Now we will work with the D major scale. The notes that make up the D major scale are D, E, F#, G, A, B, C#, and D. Now let’s look at the fingerings.

With your right hand, hit the D with your thumb. Walk until your third finger hits the F sharp, then cross your thumb underneath to hit the G. Complete the scale finger by finger until your pinky lands on the D. On the way down, bring your third finger over your thumb when the thumb hits the G.

The left hand uses the pinky to start the scale. From there, work up to your thumb and then cross your third finger to meet the B. Finish with your thumb on the D. On your way back down, when your third finger is back on the B, cross your thumb underneath and finish the scale.

After you are done practicing this scale, you can move on to the D minor harmonic scale.

Minor scale to B

B minor is a Bb-based minor scale composed of the pitches B, C♯, D, E, F♯, G, and A. Their key consists of two sharps. Its relative major is D major and its parallel major is B flat major.

The natural B flat minor scale is:

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Changes required for the melodic and harmonic versions of the scale are inscribed with accidentals as appropriate. The B harmonic minor and melodic minor scales are:

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Christian Friedrich Daniel Schubart (1739–1791) viewed B minor as a key expressing a quiet acceptance of fate and a very gentle lament, something commentators see as consistent with Bach’s use of the key in his St. John Passion. By the end of the Baroque period, however, conventional academic views of B minor had changed: the composer and theorist Francesco Galeazzi (1758–1819) felt that B minor was unsuited to music of good taste. In one of his sketchbooks, Beethoven described a melodic idea in B minor as a “black key”.

Notable compositions in B minor

See also[edit]

References[edit]

Remarks

Sources

D major scale

A major scale is a common scale used in music. The notes follow the following pattern:

all

all

half

all

all

all

half

The exact notes depend on what key the major scale is in, with the scale name being the first note the scale begins with. The key of D major is the major scale that starts on D. The D major key has two sharps (F and C) and can be recognized when the beginning of the music shows two sharps:

The key of D major has 2 sharps

Typically, songs in D major have a triumphant and confident feel. These are hallelujah songs, excited songs, and songs about winning. Marches and holiday songs are often written in D major. Several classical pieces are named with the D scale in the name, such as Pachelbel’s Canon in B. This song is not usually known by the name, but most people would recognize it as a song played at weddings or as music on hold on phones .

Notes of the D major scale

The notes of the D major scale are:

D

E

F# (F#)

G

A

B

Cis (C#)

Then repeats back at D (an octave up)

In music, the treble clef of the D major scale and the bass clef of the D major scale look like this:

On a piano these notes are:

D major scale in guitar

The D major scale in guitar can be plucked as single notes or as a full D major chord. When playing single notes, only one (or in some cases none) fret needs to be held and only that string is struck. The D major scale can be played on the guitar in a number of ways. The two most common methods are open position and 6th position.

Free place

The notes in the D major scale on a guitar are:

The guitar of the D major scale. The first (or lowest) note is shown in red, the string moves down when it reaches the last note on that string, it moves back to the open position note and down that string until it hits the last (or highest) note reached, which is shown in violet. The two light blue B notes are the same note.

Starting with D, the notes for the D major scale in guitar are:

D: Third string, open fret

E: Third string, second fret (using the second finger, also known as the middle finger)

F#: Third string, fourth fret (pinky)

G: Fourth string, open fret

A: Fourth string, second fret (with second finger or middle finger)

B: Can be played with the 4th string on the 4th fret (with the pinky) or the 5th string on the open fret

C#: Fifth string, second fret (using second finger, also called middle finger)

D: Fifth string, third fret (with the third finger, also called the ring finger)

6th place

The D major scale in 6th position starts at the 6th fret (hence the name). The notes played are:

To play the D major scale in 6th position, the index finger is on the 7th fret, the middle finger is on the 8th fret, the ring finger is on the 9th fret, and the pinky is on the 10th fret. Notice that there is one note (a C#) on the 6th fret. When that note is played, the index finger stretches to the 6th fret to play that note. To play a full scale beginning with D, that scale would be played as:

Why are trumpets in different keys? (explained for beginners)

The different keys used for trumpets can be confusing at first.

But there are good reasons why trumpets are built in different keys and not just all trumpets are tuned in C or Bb.

Let’s look at the facts.

That is why there are trumpets in different keys

Trumpets are made in different keys to compensate for the relatively short pitch range of trumpets. Composers often use a larger register than most trumpeters can play, and they get more range by including the Eb and Bb piccolo trumpet in the orchestral mix.

A good intermediate trumpeter will be most comfortable playing in the range of about two octaves, and that’s not much for music composers to work with.

An Eb trumpet is tuned exactly a fourth (5 semitones) above a normal Bb trumpet and this gives the player more high notes.

The C trumpet was introduced primarily to make it easier for trumpet players to play in the standard C tuning alongside other instruments.

By using a C trumpet, you don’t have to transpose the music to play the same notes as a piano (we’ll get to that!)

What key is a standard trumpet?

The standard key for trumpets is Bb (Bb). Most trumpet players start with a Bb trumpet and that’s where you’ll find the iconic trumpet sound. The B flat trumpet is also the best selling trumpet.

Most trumpets can be dialed down to the key of A by pulling the adjustable tuning slide out as far as it will go. With this little trick you can often make it much easier to transpose a sheet of music into a more readable key.

This means that standard trumpets can play in both the B flat key and the A key.

Most trumpet brands produce several Bb trumpet models and some models that are in the C and Eb key as we will look at below.

What key is a piccolo trumpet?

The piccolo trumpet is a small trumpet typically built in the key of Bb or A. It plays about an octave above a standard Bb trumpet. The piccolo trumpet is used primarily in orchestras and marching bands.

Piccolo trumpets are smaller than regular trumpets because they require less pipe length for the high Bb key. Sometimes they have four valves to make it easier (possible) for the player to play the lower notes.

Just like a regular trumpet, you can pull out the main leadpipe to tune it down to the key of A. This can make it easier to play sharp songs.

The overall length of the pipes is less than standard trumpets, making the key and pitch higher.

What key is a flugelhorn?

Flugelhorns, like normal trumpets, are almost always tuned to B flat. They have a larger bell and fewer arches on the pipes. This means they can use the same sheet music as regular trumpets.

The flugelhorn is famous for its darker tone and sounds more like a horn than a trumpet.

Many trumpeters also have a flugelhorn in order to be able to produce a richer and deeper sound for variations.

What does B in trumpets mean?

B refers to the key tuning of the instrument when no keys are pressed. When you play the C note on a Bb trumpet, it sounds like the B note on a piano or regular guitar.

Most instruments are tuned in the key of C and that means you will be playing a major second below a C instrument.

Alternatively, unless there is a separate reed for a Bb instrument, you must transpose the notes up a major second (two semitones) to play along with a piano.

Main advantages of using a Bb trumpet

Much of classical trumpet music is written in B flat. This is probably the main reason why most trumpet players choose the B flat trumpet.

However, it’s also a bit easier to get the pitch on a Bb trumpet through the full register.

The Bb trumpet is slightly larger than trumpets in other keys. If you unfold the pipes, you can see that a trumpet in the B key requires more pipes than a C trumpet. There is simply more tube length built into the instrument and you have more control. Therefore it is easier to control the sound with the lips.

The smaller the brass instrument, the more practice it takes to hit the right note every time.

The B flat trumpet works well for brass bands and has the characteristic sound you would expect from a trumpet.

The reason most trumpets are in the Bb key

Most trumpets are tuned in B flat because that tuning works with the optimal pipe length to create the unique trumpet timbre. Trumpets tuned in most other keys require fewer pipes and produce a slightly brighter tone.

Trumpets in B flat sound as you would expect from a trumpet.

The remaining trumpets have a brighter sound and are a bit more difficult to control to switch between notes quickly and precisely.

Also, the Bb key (also known as Bb) is often the default tuning for music written for marching bands, as we will see below.

In what key is most trumpet music written?

Historically, music for marching bands and marching bands is in the key of B flat. That’s because the Bb key sounds really good for brass instruments.

Historically there were only trumpets without valves. This meant that these instruments could only play the notes in the harmonic series (C, G, C, E, G, etc.). This would limit horns and trumpets to playing only very simple melodies, especially for the lower register.

After the valve system was introduced in the early 19th century, it became possible to play the trumpet in any key.

What key should I choose for my trumpet?

While most people use Bb and C trumpets, there are situations where an Eb or F trumpet can come in handy.

Let’s dive into when to choose the more unusual trumpets.

Why do people use C trumpets?

C trumpets are often used in classical orchestras, where many stringed instruments are found. The C trumpet has a brighter tone and goes well with the stringed instruments. Also, it’s easier to play sharp music on C trumpets because of the finger positions.

Even if you play a C trumpet, you can use the same sheet music as a piano, which is very helpful in many situations.

If you’re playing pop music or jazz music along with instruments that aren’t pitched in Bb, choosing a trumpet in the key of C makes a lot of sense.

Why do people use F trumpets?

Very few professional and intermediate trumpet players use F trumpets. They don’t have the classic trumpet sound because they are tuned very differently. They are designed to help the player reach really high notes.

We can also find some brands that make a trumpet tuned in the low key of F (below the Bb trumpet). These are rarely used as they sound much more like horns.

The Eb trumpet and Eb cornets are more popular in orchestras for the higher pitched trumpet parts.

Why do people use Eb trumpets?

The E-flat trumpets (and E-flat cornets) are pitched higher than regular trumpets and are used in music composed specifically for the high register. It’s much easier to hit the high notes on an Eb trumpet than on a regular Bb or C trumpet.

The reason it’s easier to hit the high notes on an Eb trumpet has to do with the construction and mouthpiece. The horn itself is smaller and the mouthpiece also has a smaller rim and cup size.

If you play the same note on an E flat trumpet and a B flat trumpet, you will have a lighter timbre on the E flat cornet.

What key is my trumpet in?

The easiest way to determine what key a trumpet is in is to play next to a piano. If you play a C on the trumpet, the piano tells what key the instrument is tuned in. The trumpet will be a Bb trumpet.

You can’t tell what key a trumpet is in by looking at it.

However, smaller trumpets are usually tuned to Eb or Bb, which sits an octave above a regular trumpet.

What other instruments are in the key of Bb?

Here is a list of common instruments tuned in B flat:

The concepts in this blog post relate to Lesson 20 of the Easy Music Theory with Gary Ewer course.

CLICK to read more.

My trumpet is a Bb trumpet and it is the most commonly used trumpet size in the world. Most players in concert bands and jazz bands use this instrument. The answer to why it’s called a “Bb” trumpet is simple: if I play a C, it’s really a Bb.

Glad I could clear that up.

Now to the more important question. Why does it sound like a B when I play a C? If it really does sound like a bb, then why not just call it bb?

There are actually many different sizes of trumpets. I own three of these, the Bb trumpet I mentioned, a C trumpet (which is slightly smaller than the Bb trumpet) and a D trumpet which is even smaller.

What do I mean when I say my C is “really a Bb”? What we are talking about is concert pitch. Several instruments play in concert pitch: piano, organ, flute, trombone, guitar, violin, viola, cello, bass and so on. That is, if they play a C, it really is a C. But other instruments play at a pitch that is not concert pitch. My trumpet, the Bb clarinet, the Eb alto sax, the Bb tenor sax and the F French horn, just to name a few.

As I mentioned earlier, I have a C trumpet and when I play a C on this instrument, it really is a C. But my Bb trumpet is the most commonly used trumpet size in the world today. That’s because it delivers just the right brass tone for most concert band and jazz band music. In orchestras with strings, you’ll find that C trumpets are used much more often because the C trumpet’s lighter sound works well with strings.

So when I play a C on my Bb trumpet it sounds like a Bb, why not just call it Bb? There’s a logical reason for this: If we did that, I’d have to learn a set of fingerings for my C trumpet and a whole new set of fingerings for my Bb trumpet. Actually a whole new set of fingerings for each of my different sized trumpets.

When a saxophonist places all fingers on their left hand, they produce the note G. For an alto sax (an Eb instrument), that G is actually a Bb. For the tenor sax (a Bb instrument), that G is actually an F and such further. We leave it to the music writers to transpose the music properly to get the right pitch. When the author wants a Bb to happen, he writes a C for the tenor sax and a G for the alto sax.

When the music is properly transposed, the player can switch from one type of saxophone to another without having to learn new fingerings. You just need to know that laying on all the fingers of the left hand makes a G. The composer’s job is to transpose the music correctly to get the right note.

You have a headache now, so go and have a cup of tea.

______________

Written by Gary Ewer.

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Major key and scale based on the note A

A major (or the key of A) is an A-based major scale with the pitches A, Bb, C♯, D, E, F♯, and G♯. His key signature has three crosses. Its relative minor is F sharp minor and its relative minor is A minor. The key of A major is the only key where a Neapolitan sixth chord on 2 ^ {\displaystyle {\hat {2}}} requires both a B flat and a natural accidental.

The A major scale is:

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In the treble, alto, and bass clefs, the G♯ is placed higher in key than C♯. However, a ledger line would be required in the tenor clef, and hence G♯ is placed lower than C♯.

history [edit]

Although not as rare as sharper keys in symphonic literature, examples of symphonies in A major are not as common as D major or G major. Beethoven’s Symphony No. 7, Bruckner’s Symphony No. 6 and Mendelssohn’s Symphony No. 4 constitute a nearly complete list of symphonies in this key in the Romantic period. Mozart’s Clarinet Concerto and Clarinet Quintet are both in A major, along with his 23rd Piano Concerto, and in general Mozart used clarinets in A major rather than any other key except E flat major.[1] In addition, the climax part of Tchaikovsky’s Violin Concerto is also in A major.

The key of A is common in chamber music and other music for strings that prefer sharp keys. Franz Schubert’s Trout Quintet and Antonín Dvořák’s Piano Quintet No. 2 are both in A major. Johannes Brahms, César Franck and Gabriel Fauré wrote violin sonatas in A major. Referring to Beethoven’s Kreutzer Sonata, Peter Cropper said that A major “is the richest sounding key for the violin.”[2]

According to Christian Friedrich Daniel Schubart, A major is a key appropriate for “declarations of innocent love, … hope of reunion at parting, youthful cheerfulness, and trust in God.”[3]

In orchestral works in A major, the timpani are usually set to A and E fifths apart, rather than fourths apart as in most other keys. Hector Berlioz complained about the custom of his day that timpani tuned to A and E fifths apart, C and G fourths apart, a custom that survived into the music of Franz Berwald.[4]

Notable compositions in A major[edit]

See also[edit]

References[edit]