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Systematic Way to Develop Sight Transposition



 
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ThatDude
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PostPosted: Sun May 07, 2017 1:50 pm    Post subject: Systematic Way to Develop Sight Transposition Reply with quote

What are the current best practices in developing the ability to sight read/transpose at a public performance level?
What's being taught at the conservatories/great teachers/worked well for you/etc? You
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mhenrikse
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PostPosted: Sun May 07, 2017 7:51 pm    Post subject: Re: Systematic Way to Develop Sight Transposition Reply with quote

ThatDude wrote:
What are the current best practices in developing the ability to sight read/transpose at a public performance level?
What's being taught at the conservatories/great teachers/worked well for you/etc? You


I Started in high school with Bordogni and Caffarelli on a Bb trumpet. After that, Sachse in college on Bb and C. But I think that it is most important to practice the orchestral and operatic literature using the appropriate horn and even trying different keyed horns. That develops the most useful transpositions.
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dstdenis
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PostPosted: Sun May 07, 2017 8:20 pm    Post subject: Reply with quote

I suppose reading etudes out of Sachse in the original key plus 3 other keys is a typical approach. Another option: the Franquin method. I've been practicing my fundamentals out of this method, and it encourages (okay, forces) me to work on transposing at the same time.

Many exercises are printed in one key, and then a list of transpositions appears at the end of the exercise. In order to get the full benefit of the exercise, I need to practice it in the other keys. So off I go, reading the exercise in the original key while playing it in all the other keys listed at the end of the exercise. I'm primarily interested in brushing up on my fundamentals, but I also get a workout on my transposing skills, whether I wanted it or not. Franquin was clever in how he did that, I think.
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Jay Lichtmann
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PostPosted: Mon May 08, 2017 4:38 am    Post subject: Reply with quote

http://www.wwjdo.com/concone/

These exercises are perfect for developing this skill because the accompaniment forces you to keep going at a set tempo, you can't stop every few bars. You must constantly be looking ahead, just what you should be developing for sight reading.
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dstdenis
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PostPosted: Mon May 08, 2017 5:30 am    Post subject: Reply with quote

Wow, that's a great resource, Jay! Thanks for posting the link.
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marnix
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PostPosted: Mon May 08, 2017 8:23 pm    Post subject: Reply with quote

dstdenis wrote:
I suppose reading etudes out of Sachse in the original key plus 3 other keys is a typical approach. Another option: the Franquin method. I've been practicing my fundamentals out of this method, and it encourages (okay, forces) me to work on transposing at the same time.

Many exercises are printed in one key, and then a list of transpositions appears at the end of the exercise. In order to get the full benefit of the exercise, I need to practice it in the other keys. So off I go, reading the exercise in the original key while playing it in all the other keys listed at the end of the exercise. I'm primarily interested in brushing up on my fundamentals, but I also get a workout on my transposing skills, whether I wanted it or not. Franquin was clever in how he did that, I think.


Does the Franquin method has etudes in it, or is it a book full of shorter exercises?
I don't know this book I must admit.
I learnt to transpose through Bordogni, Sachse, Concone and my all time favourite: Phil Snedecor.
But in my library is always room for more etude-books, as I really love playing etudes (yeah, weird, I know).
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dstdenis
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PostPosted: Tue May 09, 2017 4:38 am    Post subject: Reply with quote

marnix wrote:
Does the Franquin method has etudes in it, or is it a book full of shorter exercises?

It has a lot of shorter exercises from 1-4 lines long. Often these exercises will have a list of transpositions at the end. It also has sets of lyrical studies that are generally 3-4 lines long for each study.

It has some longer exercises and full page (and multi-page) concert pieces, but that's more of the exception rather than the rule. The book isn't loaded full of one-page studies, like Goldman's Practical Studies, for example, although there are some.

Sometimes it's difficult to equate the number of lines with face-time, though. For example, the long tones exercise that I do is only two lines long, but it takes me more than five minutes to go through it. But in general, I think Franquin aimed to have the student develop skills by playing shorter exercises while trying to maintain a fresh, responsive embouchure. (His general rule is, if you struggle to play a soft note with instant response because you're getting tired or your lips are swelling, time to rest!)

Qpress.ca has a product page with sample pages. The seventh sample page (double tonguing in triple meter) is typical of the method, I think, in terms of length of each exercise and number of transpositions, although the set of sample pages includes examples of other kinds of material.

marnix wrote:
I learnt to transpose through Bordogni, Sachse, Concone and my all time favourite: Phil Snedecor.

I have those books, and I like them as well!
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marnix
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PostPosted: Wed May 10, 2017 10:21 pm    Post subject: Reply with quote

Thanks for the reply! I will dig into it.
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