{"id":17306,"date":"2017-10-17T00:00:00","date_gmt":"2017-10-17T08:00:00","guid":{"rendered":"http:\/\/www.hearandplay.com\/main\/?p=17306"},"modified":"2024-10-05T16:14:37","modified_gmt":"2024-10-06T00:14:37","slug":"circular-approach-to-transposition","status":"publish","type":"post","link":"https:\/\/hearplaymain.wpenginepowered.com\/circular-approach-to-transposition\/","title":{"rendered":"A Lesson On The Circular Approach To Transposition"},"content":{"rendered":"

In this lesson, we’ll be focusing on the circular approach to transposition.<\/p>\n

One of the greatest tools every musician should have at his\/her disposal is transposition. Although there are a few wrong ways to approach transposition, there are equally right ways to approach it and the circular approach is one of such right ways.<\/p>\n

Before we go into the circular approach to transposition, let’s refresh our minds on the concept of transposition.<\/p>\n

“What Is Transposition?”<\/em><\/h2>\n

Transposition literally means the transfer of position. Check it out:<\/p>\n

TRANS<\/strong>fer of POSITION<\/strong><\/p><\/blockquote>\n

Yes! It’s that simple.<\/p>\n

The process of transferring a musical idea (be it a note, scale, interval, chord, chord progression, song, and so on) from its position to another position is described as transposition.<\/p>\n

For example, the melody of the song Mary Had a Little Lamb <\/em>which is played thus in the key of C major:
\n
\nMa:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\n…li:
\n
\n…ttle:
\n
\n…lamb:
\n
\nCan be transferred from its position in the key of C major:
\n
\n…to the key of Eb major:
\n
\n“Check It Out…”<\/em><\/p>\n

Ma:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\n…li:
\n
\n…ttle:
\n
\n…lamb:
\n
\n“Scales Can Also Be Transposed…”<\/em><\/p>\n

The D melodic minor scale:
\n
\n…can be transposed to F:
\n
\n…to produce the F melodic minor scale:
\n
\n…And Chords Too…”<\/em><\/p>\n

The G major triad:
\n
\n…can be transposed to Bb:
\n
\n…to produce the Bb major triad:
\n
\nIn a nutshell, the concept of transposition deals with transferring an idea from its position to another position.<\/p>\n

The Circular Approach To Transposition – Explained<\/em><\/h2>\n

The circular approach is one of the reliable ways to approach the transposition of musical ideas. However, before we go into the circular approach, let’s take a look at music clock.<\/p>\n

A\u00a0 Short Note On The Music Clock<\/h3>\n

There are twelve unique musical notes:
\n
\nThe music clock:
\n\"\"
\n…is\u00a0 geometrical representation of all these twelve notes:<\/p>\n

Meaning that these twelve note are represented on the circle.<\/p>\n

The musical clock can either be described as the circle of fourths or the circle of fifths because the distance (aka – “interval”) between successive notes in the circle is either fourths or fifths — whether in the clockwise or counter-clockwise direction.<\/p>\n

In the clockwise direction, we have C to G which can either be a fourth or fifth.<\/p>\n

C:
\n
\n…to G:
\n
\n…is a fifth.<\/p>\n

C:
\n
\n…to G:
\n
\n…is also a fourth.<\/p>\n

In the counter- clockwise direction, we have C to F which can either be a fourth or fifth.<\/p>\n

C:
\n
\n…to F:
\n
\n…is a fourth.<\/p>\n

C:
\n
\n…to F:
\n
\n…is also a fifth.<\/p>\n

The Relationship Between The Keys In The Musical Clock<\/h3>\n

The musical clock can be used as a reference in transposition and this is because of the relationship between successive keys in the circle. For example, key C (which is at the 12 o’clock position):
\n
\n…has two adjacent keys on the clockwise and counter clockwise direction which are the key of G:
\n
\n…and F:
\n
\n…respectively.<\/p>\n

These two adjacent keys (G and F) have the closest relationship with the key of C and time will fail us to highlight it all.<\/p>\n

However, the difference between C:
\n
\n…and G:
\n
\n…is one sharp.<\/p>\n

“Give Me Your Undivided Attention Now…”<\/em><\/p>\n

If we proceed in the clockwise direction, we can explore other closely related keys as well. For example, G (which is at the 1 o’clock position):
\n
\n…is related to D (which is at the 2 o’clock position):
\n<\/p>\n

G has one sharp<\/p>\n

D has two sharps<\/p><\/blockquote>\n

So, there’s one sharp difference between both keys.<\/p>\n

Also, D (which is at the 2 o’clock position):
\n
\n…is related to A (which is at the 3 o’clock position):
\n<\/p>\n

D has two sharps<\/p>\n

A has three sharps<\/p><\/blockquote>\n

There’s also a difference of one sharp between both keys.<\/p>\n

“In A Nutshell…”<\/em><\/p>\n

Adjacent keys on the musical clock are related whether in the clockwise or counter clockwise direction.<\/p>\n

For example, Bb (which is at the 10 o’clock position):
\n
\n…is related to Eb (which is at the 9 o’clock position):
\n
\nAlso, D (which is at the 2 o’clock position):
\n<\/p>\n

Bb has two flats<\/p>\n

Eb has three flats<\/p><\/blockquote>\n

…and that’s a difference of one flat between both keys.<\/p>\n

The Use Of The Musical Clock In Transposition<\/h3>\n

The musical clock can be used to approach transposition and this is known as the circular approach to transposition.<\/p>\n

“Here’s How It Works…”<\/em><\/p>\n

When an idea is given in a particular key, it can be transposed to other keys using the musical clock as a reference. For example, if you’re given the C major seventh chord:
\n
\n…it can be transposed using the circular approach (the musical clock as a reference)<\/p>\n

In the clockwise direction we have the G major seventh chord:
\n
\n…with a difference of one sharp (on F#):
\n
\nFollowed by the D major seventh chord:
\n
\n…with a difference of two sharps (F# and C#):
\n
\nFollowed by the A major seventh chord:
\n
\n…with two sharps (C# and F#):
\n
\nLet’s get back to the melody of the song Mary Had a Little Lamb <\/em>which is played thus in the key of D major:
\n
\nMa:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\n…li:
\n
\n…ttle:
\n
\n…lamb:
\n<\/p>\n

Using the concept of circular transposition, the next key in a clockwise direction is A:
\n
\n…and here’s the melody in the key of A major:<\/p>\n

Ma:
\n
\n…ry:
\n
\n…had:
\n
\n…a:
\n
\n…li:
\n
\n…ttle:
\n
\n…lamb:
\n
\nIn a nutshell, the musical clock can be used as a reference during the transposition of an idea and that’s what the concept of circular transposition is all about.<\/p>\n

<\/h3>\n

Final Words<\/h2>\n

I believe that the circular approach to transposition would pay off greatly –especially while learning new ideas in all twelve keys.<\/p>\n

Starting out in any key of your choice, you can proceed to other keys in the circle using the musical clock as a reference.<\/p>\n

Congratulations and see you in the next lesson!<\/p>\n","protected":false},"excerpt":{"rendered":"

Get started in this lesson with the circular approach to transposition.<\/p>\n","protected":false},"author":9,"featured_media":22557,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-17306","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-piano","post-wrapper","thrv_wrapper"],"yoast_head":"\nA Lesson On The Circular Approach To Transposition - Hear and Play Music Learning Center<\/title>\n<meta name=\"description\" content=\"Get started in this lesson with the circular approach to transposition.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hearplaymain.wpenginepowered.com\/circular-approach-to-transposition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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