{"id":654,"date":"2023-05-11T19:03:56","date_gmt":"2023-05-11T19:03:56","guid":{"rendered":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/instrument-transpositions-ranges\/"},"modified":"2025-08-14T19:24:15","modified_gmt":"2025-08-14T19:24:15","slug":"instrument-transpositions-ranges","status":"publish","type":"chapter","link":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/chapter\/instrument-transpositions-ranges\/","title":{"raw":"Instrument transpositions and ranges","rendered":"Instrument transpositions and ranges"},"content":{"raw":"<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Learning goals for Chapter 28<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nIn this chapter, we will learn:\r\n<ul>\r\n \t<li>What instruments are [pb_glossary id=\"3272\"]C instruments[\/pb_glossary] (meaning they sound at the pitch notated)<\/li>\r\n \t<li>What instruments are transposing (meaning they sound at a different pitch than notated)<\/li>\r\n \t<li>To read [pb_glossary id=\"3273\"]transposing instrument[\/pb_glossary] parts\u2014translating what we see into what we hear, so that we can read full orchestral scores<\/li>\r\n \t<li>To understand how to write music for transposing instruments\u2014translating what we want to hear into what the player needs to see<\/li>\r\n<\/ul>\r\n<\/div>\r\n<\/div>\r\nIn this chapter, we are learning more about instruments, focusing on \"[pb_glossary id=\"3273\"]transposing instruments[\/pb_glossary]\" and their ranges. <span>A transposing instrument is one where the musician reads one pitch and we hear another\u2014so, depending on the instrument, a C on the page may sound as a different note altogether.<\/span> This chapter will teach you how to interpret and write transposed parts effectively. If this topic is brand new to you, you might find it confusing at first. Before moving on, consider watching the video below, which presents a fast-paced, exciting introduction to the topic.\r\n<div class=\"textbox textbox--key-takeaways\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Video: Brad Harrison's video \"Concert Pitch and Transposing Instruments\" (6:52)<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nhttps:\/\/youtu.be\/1t1FNTQHpAc?si=jEAOJzB7iwpq4-TC\r\n\r\nThis fast-paced and exciting video introduces the concept of transposing instruments and how they work.\r\n\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Instrument ranges and transpositions\"><\/a>Instrument ranges and transpositions<\/h1>\r\nEach instrument has its own special properties, including a distinct [pb_glossary id=\"978\"]timbre[\/pb_glossary] and range. Notation for each instrument varies in terms of what clefs and transpositions are commonly used. Figure 28-1 summarizes the ranges and transpositions for many common instruments. The figure is organized into instrument families\u2014woodwinds, brass, and strings\u2014presented in the order we encounter thes in an orchestral score.\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Figure 28-1. Ranges and transpositions for common instruments<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-1013x1024.png\" alt=\"image of chart showing written ranges of woodwind instruments and description of how they sound in relationship to how they are written\" width=\"1013\" height=\"1024\" class=\"alignnone wp-image-3223 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-818x1024.png\" alt=\"image of chart showing written ranges of woodwind and brass instruments and description of how they sound in relationship to how they are written\" width=\"818\" height=\"1024\" class=\"alignnone wp-image-3224 size-large\" \/><\/a>\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-909x1024.png\" alt=\"image of chart showing written ranges of stringed instruments and description of how they sound in relationship to how they are written\" width=\"909\" height=\"1024\" class=\"alignnone wp-image-3225 size-large\" \/><\/a>\r\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-28.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 28.1<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\nWe refer to the sounding pitch we hear, regardless of how it is notated, as \"[pb_glossary id=\"3275\"]concert pitch[\/pb_glossary].\"\r\n\r\nYou may find it helpful to think of instruments not only as grouped together by their instrument families (woodwinds, brass, and strings), but also in terms of which instruments transpose and by what interval.\r\n\r\nFor example, of the instruments listed above, we can identify several groups:\r\n<ul>\r\n \t<li>F instruments: English horn, French horn<\/li>\r\n \t<li>B[latex]\\flat[\/latex] instruments: clarinet in B[latex]\\flat[\/latex], bass clarinet, soprano saxophone, tenor saxophone, B[latex]\\flat[\/latex] trumpet<\/li>\r\n \t<li>A instrument: clarinet in A<\/li>\r\n \t<li>E[latex]\\flat[\/latex]\u00a0instruments: alto saxophone, baritone saxophone<\/li>\r\n \t<li>C instruments written an octave lower than they sound: piccolo<\/li>\r\n \t<li>C instruments written an octave higher than they sound: contrabassoon, bass, guitar<\/li>\r\n<\/ul>\r\nAll other instruments that appear in this guide are [pb_glossary id=\"3272\"]C instruments[\/pb_glossary] with no transposition. Additionally, it may be helpful to remember that all transposing instruments, except for the piccolo, sound lower than they are written.\r\n<h1><a id=\"EXERCISE 28-1 Analysis of Samuel Barber's First Symphony, op. 9, mm. 1\u20135\"><\/a>EXERCISE 28-1 Analysis of Samuel Barber's First Symphony, op. 9, mm. 1\u20135<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 28-1 Analysis of Samuel Barber's First Symphony, op. 9, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nStudy the first page of the score for Samuel Barber\u2019s First Symphony and listen to the beginning of the movement. Then answer the questions below.\r\n\r\n<span>[h5p id=\"67\"]<\/span>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 28-1. Samuel Barber, First Symphony, op. 9, mm. 1\u20135<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-788x1024.png\" alt=\"image of score\" width=\"788\" height=\"1024\" class=\"wp-image-3231 size-large\" \/><\/a><strong>SYMPHONY NO. 1 OP. 9<\/strong>\r\nBy Samuel Barber\r\nCopyright \u00a9 1943 (Renewed) by G. Schirmer, Inc. (ASCAP)\r\nInternational Copyright Secured. All Rights Reserved.\r\nUsed by Permission.[audio mp3=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Audio-excerpt-Barber.mp3\"][\/audio]\r\n\r\nListen to the full track, performed by the Saint Louis Symphony orchestra, conducted by Leonard Slatkin, on <a href=\"https:\/\/open.spotify.com\/track\/10zeQ6Emh7de6WT3qaO5kK?si=711e88162e634f5f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.\r\n\r\nLearn about American composer Samuel Barber (1910\u20131981) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.01994\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Barbara B. Heyman.\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.1-Analysis-of-Barbers-First-Symphony.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.1 Analysis of Barber's First Symphony<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"EXERCISE 28-2 Writing for transposing instruments\"><\/a>EXERCISE 28-2 Writing for transposing instruments<\/h1>\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 28-2 Writing for transposing instruments<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nStudy the following passage written in concert pitch, and answer the questions that follow.\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet.png\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-1024x188.png\" alt=\"Melody in bass clef. Key signature is one sharp. Time signature is 4\/4. Pitches: G3, A3, B3, F-sharp 3, G3\" width=\"1024\" height=\"188\" class=\"alignnone size-large wp-image-3241\" \/><\/a>\r\n\r\n1) What concert-pitch key is this passage in?\r\n\r\nNow, consider the following instruments:\r\n\r\n<strong>CLARINET IN B[latex]\\flat[\/latex]<\/strong>\r\n\r\n2) If you wanted clarinet in B-flat to play this passage, what key would it be written in?\r\n\r\n3) What clef would be used?\r\n\r\n<strong>VIOLA<\/strong>\r\n\r\n4) If you wanted violas to play this passage, what key would it be written in?\r\n\r\n5) What clef would be used?\r\n\r\n<strong>ALTO SAXOPHONE<\/strong>\r\n\r\n6) If you wanted alto sax to play this passage, what key would it be written in?\r\n\r\n7) What clef would be used?\r\n\r\n<strong>HORN IN F<\/strong>\r\n\r\n8) If you wanted horn in F to play this passage, what key would it be written in?\r\n\r\n9) What clef would be used?\r\n\r\nFinally, on a piece of staff paper, notate the passage for each of these instruments so that when played it will sound at concert pitch.\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.2-Writing-for-transposing-instruments.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.2 Writing for transposing instruments<\/a><\/div>\r\n<div>\r\n<div class=\"textbox shaded\">Want more practice with transposing instruments? Try this drill: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;Practice reading transposing instruments&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:1325571,&quot;3&quot;:{&quot;1&quot;:0},&quot;4&quot;:{&quot;1&quot;:2,&quot;2&quot;:16043212},&quot;12&quot;:0,&quot;14&quot;:{&quot;1&quot;:2,&quot;2&quot;:1136076},&quot;15&quot;:&quot;Calibri&quot;,&quot;16&quot;:12,&quot;21&quot;:1,&quot;23&quot;:1}\" data-sheets-hyperlink=\"https:\/\/www.teoria.com\/en\/exercises\/tr.php\"><a class=\"in-cell-link\" href=\"https:\/\/www.teoria.com\/en\/exercises\/tr.php\" target=\"_blank\" rel=\"noopener\">Practice reading and writing for transposing instruments<\/a><\/span> (teoria)<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access the slideshow associated with this chapter's content here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IuPCeQsg6fkBj6En3NMV-_4ulKcuWN3DkZQaHNZmLmI\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Slideshow for instrument transpositions and ranges<\/a>. This slideshow introduces the concept of transposing instruments and walks you through EXERCISES 28-1 and 28-2.<\/div>\r\n\r\n<h1><a id=\"EXERCISE 28-3 Analysis with transposing instruments in Hailstork's\u00a0Done Made My Vow\"><\/a>EXERCISE 28-3 Analysis with transposing instruments in Hailstork's\u00a0<em>Done Made My Vow<\/em><\/h1>\r\n\r\n<div class=\"textbox textbox--exercises\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">EXERCISE 28-3 Analysis with transposing instruments in Hailstork's\u00a0<em>Done Made My Vow<\/em><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\nPreviously we studied an excerpt from Hailstork's massive oratorio <em>Done Made My Vow<\/em> for the composer's treatment of text setting. This next exercise will involve looking at a single measure from the orchestral score to apply our knowledge of transposing instruments. Study Worksheet example 28-2 and answer the questions below.\r\n\r\nThis section is scored for two flutes (Fl.), two clarinets (Cl.) in A (not B[latex]\\flat[\/latex]), four horns (Hrn.) in F, timpani (Timp.), soprano solo, and strings--violins (Vln.), violas (Vla.), cellos (Vc.), and double basses (bass).\r\n<ol>\r\n \t<li>What concert pitch key does this excerpt start in?<\/li>\r\n \t<li>What is the concert pitch and [pb_glossary id=\"246\"]octave designation[\/pb_glossary] for the <strong>first clarinet<\/strong> at m. 604?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>second clarinet<\/strong> at m. 604?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>first horn<\/strong> at m. 604?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>second horn<\/strong> at m. 604?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>fourth horn<\/strong> at m. 604?<\/li>\r\n \t<li>What is the relationship between the concert pitches of the viola parts and the clarinet parts?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>cellos<\/strong> at m. 604?<\/li>\r\n \t<li>What is the concert pitch and octave designation for the <strong>double bass<\/strong> at m. 604?<\/li>\r\n<\/ol>\r\n<div class=\"textbox textbox--examples\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Worksheet example 28-2. Adolphus Hailstork, <em>Done Made My Vow<\/em>, m. 604<span style=\"background-color: #f3e1e3;color: #000000;font-size: 1rem\"><\/span><\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork.png\" target=\"_blank\" rel=\"noopener\"><img src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-381x1024.png\" alt=\"image of orchestral score\" width=\"381\" height=\"1024\" class=\"aligncenter wp-image-3262 size-large\" \/><\/a>\r\n<p style=\"text-align: center\"><em>Done Made My Vow<\/em>\r\nBy Adolphus Hailstork\r\nCopyright \u00a9 1985 by Theodore Presser Company.\r\nAll rights reserved. Used with Permission.<\/p>\r\n<p style=\"text-align: left\">Listen to the full work, performed by Baltimore Symphony Orchestra and Morgan State University Choir, conducted by Danial Hege and Nathan Carter, on <a href=\"https:\/\/youtu.be\/TZG5We9OH2c?si=EO_58pSvErC3rvGB\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\r\n<p style=\"text-align: left\">Learn about American composer <strong>Adolphus Hailstork<\/strong> (b. 1941) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.42700\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Doris Evans McGinty.<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork.png\" target=\"_blank\" rel=\"noopener\"><\/a><\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.3-Analysis-with-transposing-instruments-in-Hailstorks-Done-Made-My-Vow.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.3 Analysis with transposing instruments in Hailstork's Done Made My Vow<\/a><\/div>\r\n<\/div>\r\n<\/div>\r\n<h1><a id=\"Supplemental resources\"><\/a>Supplemental resources<\/h1>\r\n<div class=\"textbox textbox--learning-objectives\"><header class=\"textbox__header\">\r\n<p class=\"textbox__title\">Supplemental resources for Chapter 28<\/p>\r\n\r\n<\/header>\r\n<div class=\"textbox__content\">\r\n\r\n<a href=\"https:\/\/andrewhugill.com\/OrchestraManual\/\" target=\"_blank\" rel=\"noopener\">Andrew Hugill's Orchestra Manual (mobile friendly)<\/a>\r\n\r\n<\/div>\r\n<\/div>","rendered":"<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Learning goals for Chapter 28<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>In this chapter, we will learn:<\/p>\n<ul>\n<li>What instruments are <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_3272\">C instruments<\/a> (meaning they sound at the pitch notated)<\/li>\n<li>What instruments are transposing (meaning they sound at a different pitch than notated)<\/li>\n<li>To read <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_3273\">transposing instrument<\/a> parts\u2014translating what we see into what we hear, so that we can read full orchestral scores<\/li>\n<li>To understand how to write music for transposing instruments\u2014translating what we want to hear into what the player needs to see<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<p>In this chapter, we are learning more about instruments, focusing on &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_3273\">transposing instruments<\/a>&#8221; and their ranges. <span>A transposing instrument is one where the musician reads one pitch and we hear another\u2014so, depending on the instrument, a C on the page may sound as a different note altogether.<\/span> This chapter will teach you how to interpret and write transposed parts effectively. If this topic is brand new to you, you might find it confusing at first. Before moving on, consider watching the video below, which presents a fast-paced, exciting introduction to the topic.<\/p>\n<div class=\"textbox textbox--key-takeaways\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Video: Brad Harrison&#8217;s video &#8220;Concert Pitch and Transposing Instruments&#8221; (6:52)<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><iframe loading=\"lazy\" id=\"oembed-1\" title=\"What is concert pitch, and why and how do instruments transpose?\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/1t1FNTQHpAc?feature=oembed&#38;rel=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>This fast-paced and exciting video introduces the concept of transposing instruments and how they work.<\/p>\n<\/div>\n<\/div>\n<h1><a><\/a>Instrument ranges and transpositions<\/h1>\n<p>Each instrument has its own special properties, including a distinct <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_978\">timbre<\/a> and range. Notation for each instrument varies in terms of what clefs and transpositions are commonly used. Figure 28-1 summarizes the ranges and transpositions for many common instruments. The figure is organized into instrument families\u2014woodwinds, brass, and strings\u2014presented in the order we encounter thes in an orchestral score.<\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Figure 28-1. Ranges and transpositions for common instruments<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-1013x1024.png\" alt=\"image of chart showing written ranges of woodwind instruments and description of how they sound in relationship to how they are written\" width=\"1013\" height=\"1024\" class=\"alignnone wp-image-3223 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-1013x1024.png 1013w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-297x300.png 297w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-768x776.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-1520x1536.png 1520w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-2026x2048.png 2026w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-65x66.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-225x227.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-1-350x354.png 350w\" sizes=\"auto, (max-width: 1013px) 100vw, 1013px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-818x1024.png\" alt=\"image of chart showing written ranges of woodwind and brass instruments and description of how they sound in relationship to how they are written\" width=\"818\" height=\"1024\" class=\"alignnone wp-image-3224 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-818x1024.png 818w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-240x300.png 240w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-768x962.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-1226x1536.png 1226w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-1635x2048.png 1635w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-65x81.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-225x282.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-2-350x438.png 350w\" sizes=\"auto, (max-width: 818px) 100vw, 818px\" \/><\/a><\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-909x1024.png\" alt=\"image of chart showing written ranges of stringed instruments and description of how they sound in relationship to how they are written\" width=\"909\" height=\"1024\" class=\"alignnone wp-image-3225 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-909x1024.png 909w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-266x300.png 266w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-768x865.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-1364x1536.png 1364w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-1819x2048.png 1819w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-65x73.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-225x253.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3-350x394.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig.-28.1-part-3.png 1926w\" sizes=\"auto, (max-width: 909px) 100vw, 909px\" \/><\/a><\/p>\n<div class=\"textbox shaded\">Access a screen-reader friendly .pdf of this figure here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Fig-28.1.pdf\" target=\"_blank\" rel=\"noopener\">Figure 28.1<\/a><\/div>\n<\/div>\n<\/div>\n<p>We refer to the sounding pitch we hear, regardless of how it is notated, as &#8220;<a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_3275\">concert pitch<\/a>.&#8221;<\/p>\n<p>You may find it helpful to think of instruments not only as grouped together by their instrument families (woodwinds, brass, and strings), but also in terms of which instruments transpose and by what interval.<\/p>\n<p>For example, of the instruments listed above, we can identify several groups:<\/p>\n<ul>\n<li>F instruments: English horn, French horn<\/li>\n<li>B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> instruments: clarinet in B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>, bass clarinet, soprano saxophone, tenor saxophone, B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/> trumpet<\/li>\n<li>A instrument: clarinet in A<\/li>\n<li>E<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>\u00a0instruments: alto saxophone, baritone saxophone<\/li>\n<li>C instruments written an octave lower than they sound: piccolo<\/li>\n<li>C instruments written an octave higher than they sound: contrabassoon, bass, guitar<\/li>\n<\/ul>\n<p>All other instruments that appear in this guide are <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_3272\">C instruments<\/a> with no transposition. Additionally, it may be helpful to remember that all transposing instruments, except for the piccolo, sound lower than they are written.<\/p>\n<h1><a><\/a>EXERCISE 28-1 Analysis of Samuel Barber&#8217;s First Symphony, op. 9, mm. 1\u20135<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 28-1 Analysis of Samuel Barber&#8217;s First Symphony, op. 9, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Study the first page of the score for Samuel Barber\u2019s First Symphony and listen to the beginning of the movement. Then answer the questions below.<\/p>\n<p><span><\/p>\n<div id=\"h5p-67\">\n<div class=\"h5p-iframe-wrapper\"><iframe id=\"h5p-iframe-67\" class=\"h5p-iframe\" data-content-id=\"67\" style=\"height:1px\" src=\"about:blank\" frameBorder=\"0\" scrolling=\"no\" title=\"Score Study: Barber&#039;s Symphony no. 1\"><\/iframe><\/div>\n<\/div>\n<p><\/span><\/p>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 28-1. Samuel Barber, First Symphony, op. 9, mm. 1\u20135<\/p>\n<\/header>\n<div class=\"textbox__content\" style=\"text-align: center\"><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page.png\" target=\"_blank\" rel=\"noopener\"><\/p>\n<div class=\"cc-attribution-box-container\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-788x1024.png\" alt=\"image of score\" width=\"788\" height=\"1024\" class=\"wp-image-3231 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-788x1024.png 788w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-231x300.png 231w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-768x998.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-1182x1536.png 1182w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-1576x2048.png 1576w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-65x84.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-225x292.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28.1-Score-for-Barbers-Symphony-no.-1-first-page-350x455.png 350w\" sizes=\"auto, (max-width: 788px) 100vw, 788px\" \/><\/p>\n<div class=\"cc-attribution-box\"> <\/div>\n<\/div>\n<p><\/a><strong>SYMPHONY NO. 1 OP. 9<\/strong><br \/>\nBy Samuel Barber<br \/>\nCopyright \u00a9 1943 (Renewed) by G. Schirmer, Inc. (ASCAP)<br \/>\nInternational Copyright Secured. All Rights Reserved.<br \/>\nUsed by Permission.<audio class=\"wp-audio-shortcode\" id=\"audio-654-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Audio-excerpt-Barber.mp3?_=1\" \/><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Audio-excerpt-Barber.mp3\">https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Audio-excerpt-Barber.mp3<\/a><\/audio><\/p>\n<p>Listen to the full track, performed by the Saint Louis Symphony orchestra, conducted by Leonard Slatkin, on <a href=\"https:\/\/open.spotify.com\/track\/10zeQ6Emh7de6WT3qaO5kK?si=711e88162e634f5f\" target=\"_blank\" rel=\"noopener\">Spotify<\/a>.<\/p>\n<p>Learn about American composer Samuel Barber (1910\u20131981) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.01994\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Barbara B. Heyman.<\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.1-Analysis-of-Barbers-First-Symphony.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.1 Analysis of Barber&#8217;s First Symphony<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>EXERCISE 28-2 Writing for transposing instruments<\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 28-2 Writing for transposing instruments<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Study the following passage written in concert pitch, and answer the questions that follow.<\/p>\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet.png\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-1024x188.png\" alt=\"Melody in bass clef. Key signature is one sharp. Time signature is 4\/4. Pitches: G3, A3, B3, F-sharp 3, G3\" width=\"1024\" height=\"188\" class=\"alignnone size-large wp-image-3241\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-1024x188.png 1024w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-300x55.png 300w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-768x141.png 768w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-1536x282.png 1536w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-2048x376.png 2048w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-65x12.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-225x41.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/EXERCISE-28.2-GM-snippet-350x64.png 350w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>1) What concert-pitch key is this passage in?<\/p>\n<p>Now, consider the following instruments:<\/p>\n<p><strong>CLARINET IN B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/><\/strong><\/p>\n<p>2) If you wanted clarinet in B-flat to play this passage, what key would it be written in?<\/p>\n<p>3) What clef would be used?<\/p>\n<p><strong>VIOLA<\/strong><\/p>\n<p>4) If you wanted violas to play this passage, what key would it be written in?<\/p>\n<p>5) What clef would be used?<\/p>\n<p><strong>ALTO SAXOPHONE<\/strong><\/p>\n<p>6) If you wanted alto sax to play this passage, what key would it be written in?<\/p>\n<p>7) What clef would be used?<\/p>\n<p><strong>HORN IN F<\/strong><\/p>\n<p>8) If you wanted horn in F to play this passage, what key would it be written in?<\/p>\n<p>9) What clef would be used?<\/p>\n<p>Finally, on a piece of staff paper, notate the passage for each of these instruments so that when played it will sound at concert pitch.<\/p>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.2-Writing-for-transposing-instruments.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.2 Writing for transposing instruments<\/a><\/div>\n<div>\n<div class=\"textbox shaded\">Want more practice with transposing instruments? Try this drill: <span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;Practice reading transposing instruments&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:1325571,&quot;3&quot;:{&quot;1&quot;:0},&quot;4&quot;:{&quot;1&quot;:2,&quot;2&quot;:16043212},&quot;12&quot;:0,&quot;14&quot;:{&quot;1&quot;:2,&quot;2&quot;:1136076},&quot;15&quot;:&quot;Calibri&quot;,&quot;16&quot;:12,&quot;21&quot;:1,&quot;23&quot;:1}\" data-sheets-hyperlink=\"https:\/\/www.teoria.com\/en\/exercises\/tr.php\"><a class=\"in-cell-link\" href=\"https:\/\/www.teoria.com\/en\/exercises\/tr.php\" target=\"_blank\" rel=\"noopener\">Practice reading and writing for transposing instruments<\/a><\/span> (teoria)<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access the slideshow associated with this chapter&#8217;s content here: <a href=\"https:\/\/docs.google.com\/presentation\/d\/1IuPCeQsg6fkBj6En3NMV-_4ulKcuWN3DkZQaHNZmLmI\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Slideshow for instrument transpositions and ranges<\/a>. This slideshow introduces the concept of transposing instruments and walks you through EXERCISES 28-1 and 28-2.<\/div>\n<h1><a><\/a>EXERCISE 28-3 Analysis with transposing instruments in Hailstork&#8217;s\u00a0<em>Done Made My Vow<\/em><\/h1>\n<div class=\"textbox textbox--exercises\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">EXERCISE 28-3 Analysis with transposing instruments in Hailstork&#8217;s\u00a0<em>Done Made My Vow<\/em><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p>Previously we studied an excerpt from Hailstork&#8217;s massive oratorio <em>Done Made My Vow<\/em> for the composer&#8217;s treatment of text setting. This next exercise will involve looking at a single measure from the orchestral score to apply our knowledge of transposing instruments. Study Worksheet example 28-2 and answer the questions below.<\/p>\n<p>This section is scored for two flutes (Fl.), two clarinets (Cl.) in A (not B<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-content\/ql-cache\/quicklatex.com-0e4fd1b228a913e7ed236ea1697df45c_l3.png\" class=\"ql-img-inline-formula quicklatex-auto-format\" alt=\"&#92;&#102;&#108;&#97;&#116;\" title=\"Rendered by QuickLaTeX.com\" height=\"13\" width=\"6\" style=\"vertical-align: 0px;\" \/>), four horns (Hrn.) in F, timpani (Timp.), soprano solo, and strings&#8211;violins (Vln.), violas (Vla.), cellos (Vc.), and double basses (bass).<\/p>\n<ol>\n<li>What concert pitch key does this excerpt start in?<\/li>\n<li>What is the concert pitch and <a class=\"glossary-term\" aria-haspopup=\"dialog\" aria-describedby=\"definition\" href=\"#term_654_246\">octave designation<\/a> for the <strong>first clarinet<\/strong> at m. 604?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>second clarinet<\/strong> at m. 604?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>first horn<\/strong> at m. 604?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>second horn<\/strong> at m. 604?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>fourth horn<\/strong> at m. 604?<\/li>\n<li>What is the relationship between the concert pitches of the viola parts and the clarinet parts?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>cellos<\/strong> at m. 604?<\/li>\n<li>What is the concert pitch and octave designation for the <strong>double bass<\/strong> at m. 604?<\/li>\n<\/ol>\n<div class=\"textbox textbox--examples\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Worksheet example 28-2. Adolphus Hailstork, <em>Done Made My Vow<\/em>, m. 604<span style=\"background-color: #f3e1e3;color: #000000;font-size: 1rem\"><\/span><\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork.png\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-381x1024.png\" alt=\"image of orchestral score\" width=\"381\" height=\"1024\" class=\"aligncenter wp-image-3262 size-large\" srcset=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-381x1024.png 381w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-112x300.png 112w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-571x1536.png 571w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-65x175.png 65w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-225x605.png 225w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork-350x941.png 350w, https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork.png 612w\" sizes=\"auto, (max-width: 381px) 100vw, 381px\" \/><\/a><\/p>\n<p style=\"text-align: center\"><em>Done Made My Vow<\/em><br \/>\nBy Adolphus Hailstork<br \/>\nCopyright \u00a9 1985 by Theodore Presser Company.<br \/>\nAll rights reserved. Used with Permission.<\/p>\n<p style=\"text-align: left\">Listen to the full work, performed by Baltimore Symphony Orchestra and Morgan State University Choir, conducted by Danial Hege and Nathan Carter, on <a href=\"https:\/\/youtu.be\/TZG5We9OH2c?si=EO_58pSvErC3rvGB\" target=\"_blank\" rel=\"noopener\">YouTube<\/a>.<\/p>\n<p style=\"text-align: left\">Learn about American composer <strong>Adolphus Hailstork<\/strong> (b. 1941) by reading this <a href=\"https:\/\/doi.org\/10.1093\/gmo\/9781561592630.article.42700\" target=\"_blank\" rel=\"noopener\">Oxford Music Online article<\/a>, written by Doris Evans McGinty.<a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/WE-28-2-Hailstork.png\" target=\"_blank\" rel=\"noopener\"><\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"textbox shaded\">Access a printer-friendly .pdf of the exercise here: <a href=\"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/files\/2023\/05\/Ex28.3-Analysis-with-transposing-instruments-in-Hailstorks-Done-Made-My-Vow.pdf\" target=\"_blank\" rel=\"noopener\">Ex28.3 Analysis with transposing instruments in Hailstork&#8217;s Done Made My Vow<\/a><\/div>\n<\/div>\n<\/div>\n<h1><a><\/a>Supplemental resources<\/h1>\n<div class=\"textbox textbox--learning-objectives\">\n<header class=\"textbox__header\">\n<p class=\"textbox__title\">Supplemental resources for Chapter 28<\/p>\n<\/header>\n<div class=\"textbox__content\">\n<p><a href=\"https:\/\/andrewhugill.com\/OrchestraManual\/\" target=\"_blank\" rel=\"noopener\">Andrew Hugill&#8217;s Orchestra Manual (mobile friendly)<\/a><\/p>\n<\/div>\n<\/div>\n<div class=\"glossary\"><span class=\"screen-reader-text\" id=\"definition\">definition<\/span><template id=\"term_654_3272\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_654_3272\"><div tabindex=\"-1\"><p>instrument that sounds at the pitch in which it is notated<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_654_3273\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_654_3273\"><div tabindex=\"-1\"><p>instrument that sounds at a different pitch than notated<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_654_978\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_654_978\"><div tabindex=\"-1\"><p>\"the perceptual quality of sound\u201d (Eidsheim 2008, 158)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_654_3275\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_654_3275\"><div tabindex=\"-1\"><p>the sounding pitch we hear, regardless of how it is notated<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><template id=\"term_654_246\"><div class=\"glossary__definition\" role=\"dialog\" data-id=\"term_654_246\"><div tabindex=\"-1\"><p>system that allows us to differentiate among different octave placements of the same letter name (e.g., C4 refers to middle C; A4 refers to the A above middle C, while A3 refers to the A below middle C)<\/p>\n<\/div><button><span aria-hidden=\"true\">&times;<\/span><span class=\"screen-reader-text\">Close definition<\/span><\/button><\/div><\/template><\/div>","protected":false},"author":3,"menu_order":28,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-654","chapter","type-chapter","status-publish","hentry"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":59,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/654\/revisions"}],"predecessor-version":[{"id":7074,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/654\/revisions\/7074"}],"part":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapters\/654\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/media?parent=654"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/pressbooks\/v2\/chapter-type?post=654"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/contributor?post=654"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.macalester.digital\/multimodalmusicianship\/wp-json\/wp\/v2\/license?post=654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}