Transcribing Foundation Pieces
Found in: Reading
Amy L., California
Late in TFMM, I’ve begun assigning my students to write a few bars from Foundation pieces they’ve learned long ago. All kinds of interesting issues have been coming up – how to add articulation, how to figure out the time signature, stem directions, etc. I have a student who just wrote the first four bars of Alma Mater Blues. How do I explain that the convention is to use Eb (in the I pattern), Ab (IV pattern) and Bb (Bishop chord) rather than the enharmonic sharps? Thank you wise ones! And by the way, here’s an explanation I happened across just today about why these conventions are helpful: it”s rEallY dIfficult 2. rEad tXt th@ doesn,t f0ll0w. f0rmattIng c0nventi0ns!
Evan H., Kansas
With transcription and notation, there are so many little rules and conventions that it’s better just to allow the students to make mistakes and then gently correct them. The students will learn as they go. It might be good to mention this before you assign any transcription projects so that the students expect this sort of correction. This is basically how I learned composition: my teachers just corrected me over time as I made more than my share of mistakes!
Ian B., Pennsylvania
First of all, I think that is an awesome assignment idea!😀
However, I think that your example of unconventional text proves almost the opposite. It was not difficult to read. 🤷🏻♂️ There’s a meme I’ve seen that makes a similar point (https://www.sciencealert.com/word-jumble-meme-first-last-letters-cambridge-typoglycaemia).
Once we learn to read, our brains are remarkably flexible with different fonts, substituted characters, and even words that are completely transformed. In a musical context, yes, there are conventions and traditions about how notation works, but the rules and conventions are almost as wiggly as language and they’ve both changed over time and continue to change. I’m a member of a Facebook group for transcription experts and composers and you’d be astounded at the variety of both problems and solutions that even the pros struggle with. 😳
That said, I believe Evan’s suggestion really is best. Don’t be afraid to not have a good answer for the “why”. Let the student know that for the most part, there are conventions. But sometimes, it’s just the composer or publisher’s best attempt to make it make sense or make it easiest to read.
Regarding Alma Mater Blues, I can tell you that it IS conventional to use flats when in the key of C major. This has to do with the relationship between C major and C minor key signatures. C blues scale is sometimes compared to the minor pentatonic, but Alma Mater Blues isn’t actually using the blues scale specifically. Rather, it’s taking a melodic pattern, established on the I chord (C), and transposing it to the IV (F). So, if the E is flat for the first bar in C, then the pattern will be retained when starting on F or G.
If I had a student transcribe using sharps, I might not even discuss the flat convention initially, and just make sure that they retain the sharps consistently throughout the piece. That establishes and confirms something they’ve already learned from playing Alma Mater Blues – the pattern and it’s transposed positions. The discussion about the key signature or scale might even be something I avoid entirely if I think that the student is not developmentally ready for it.
If you want to go down that road, you could show them the notation and wait for them to notice that Neil used flats instead of sharps. For conventions and corrections, it’s always good to show a precedent or example. Then, if they are wanting to know why, you can give them a short explanation like, “It has to do with scales and key signatures, which we’ll learn more about a little further down the road in Accompaniment 2.” Or the longer explanation that I gave you above if you think they’re ready.
Scott J., Australia
If we forget about theory for a second On a modern-day piano or guitar, the answer is it makes no difference E flat and D sharp are the same note. Five hundred years ago, however, it would have made a very big difference. Before the advent of temperament systems, D-sharp and E-flat were two different notes. They weren’t just written differently; they sounded different.
check out this organ in the 1500s
Laurie Richards, Nebraska
Personally I would choose much simpler pieces to transcribe so that they can firstly focus on getting the notes and rhythm correctly.
Original discussion started December 1, 2024