At 9:49 PM -0600 9/17/05, Bruce Petherick wrote:
Hello,
I am working on some vocal charts for a singer here in Calgary. She has asked me to transpose some of the charts into somewhat unusual keys. I am having great trouble with a chart that was written in C and she wants it transposed to B. The chart is a somewhat rearranged version of Cry Me a River and with the transposition, I have ended up with some A#13 chords. As these charts are for a band that is probably going to sight-read, I want to change this to Bb13. I just can not work out how to do this. The Enharmonic spellings seem somewhat confusing to me (and in this case, somewhat superfluous as there is no stable key in this particular section). Is this at all possible, or in the great Finale tradition, through which hoop must one jump to arrive at this solution?

Hi, Bruce. Can't answer your Finale question, but I do have an opinion on what you want to do. (I know, you didn't ask for opinions!)

First, a difference of a halfstep can make a world of difference for a singer, and if she knows that B works for her and C doesn't, that's why. It isn't arbitrary; it's a matter of physiology and musicality.

Your question assumes that a keyboard player will find A#13 difficult to figure out, while Bb13 is easy to figure out, but that's taking the chords out of context. I'd say that any competent player is going to be much more comfortable if you keep the chord symbols where they belong in a given key so the overall harmonic pattern makes intuitive sense, and if you randomly transpose chord symbols based on whether an individual chord is "easier" to realize. A# is the leading tone in B major. So what's the problem?

Now I'm not a keyboard or guitar player, so I'd be interested to know how others react to this, or Chuck as a bass player. It's just my instinct that you will be creating problems that don't already exist.

John


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John & Susie Howell
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