<?xml version="1.0" encoding="UTF-8" standalone="yes"?><oembed><version><![CDATA[1.0]]></version><provider_name><![CDATA[:&gt;)azZClefs#]]></provider_name><provider_url><![CDATA[http://jazzatelier.com]]></provider_url><author_name><![CDATA[Heervee]]></author_name><author_url><![CDATA[https://jazzatelier.com/author/rvel/]]></author_url><title><![CDATA[Transposing Instruments]]></title><type><![CDATA[link]]></type><html><![CDATA[<p><em>from Catherine Schmidt-Jones</em></p>
<p style="text-align:center;"><a href="https://jazzatelier.files.wordpress.com/2012/07/transposing-instruments.pdf">transposing instruments</a></p>
<p>A pianist, a cellist, a trombonist, and a autist all see a C written in their parts. They may play the C in different octaves, but they will all play a note that the others recognize as a C. This may seem obvious, but a clarinetist who sees a C on the page will play a note that does not sound like a C to the other players.<br />
This is because the clarinet is a transposing instrument. The music for transposing instruments is not written or read at concert pitch. The clarinetist, for example, seeing a C on the page, will play a note that sounds like a Bb. The clarinet is therefore called a Bb instrument. A French horn player, seeing a C on his &#8220;horn in F&#8221; or &#8220;F horn&#8221; part, will play a note that sounds like an F. Obviously, not just the C but all the notes are different. For a Bb instrument, for example, not just the C sounds a whole step lower, but every note sounds a whole step lower than written. In order to be read correctly by most players, music for transposing instruments must be properly transposed. &#8230;.</p>
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