Transposing Music - The Easiest Way to Do It and Understand It (Part 1)
Gracie Terzian
https://www.youtube.com/watch?v=cIAkSy0I1Dw

Transkript (automatisch erstellt)

0:00 when we take a song in one key and move it to a different key it's called transposing and it's actually very easy to do today I'm going to show you what I
0:07 believe is the easiest way to transpose music if you want to skip ahead to me explaining how to transpose just jump to the next section using the timestamps in
0:15 the description below so what do I mean by moving a song to a different key well let me show you we're going to look at the song When the Saints Go Marching In
0:23 and first I'm just going to play the melody in the key of C major okay [Music]
0:35 and I'm actually just going to stop right there because we can just look at that for now so the notes I was playing were c e f
0:42 g c e f g c e f g e c e d okay so now I'm going to play the melody again but I'm going to transpose it to the key of G major so instead of starting on the
0:56 Note C I'm going to be starting on the Note G okay and in the key of G major it sounds like
1:11 this okay and the notes I was playing were g b c d g b c d g b c d b g b a so what happened what exactly took place here when I moved it from the key
1:27 of C to the key of G okay well you might notice that it sounded lower right when I was playing in the key of C it sounds like
1:35 this and then in the key of G it was so it got a little lower in Pitch but really I could also transpose it up to the key of G and octave higher so
1:48 instead of starting on this G I could start all the way up on this G so this is an octave higher so it would sound like this
2:04 okay so that's also in the key of G so this is in the key of G and so is this they're just an octave apart so when I moved it up to the that higher G then it
2:14 got higher when I moved it down to the lower G it got lower but really it still sounds like the song right it still sounds like When the Saints Go Marching
2:22 In um but all the notes are different right instead of playing C E F G I was playing g b c d right so all of the notes change yet it
2:33 still sounds exactly like the melody When the Saints Go Marching In And so why is that why is it still the same Melody despite being totally different
2:41 notes well that's because we moved every single note in the song the exact same distance and that's really the key of transposing so every note had to move
2:50 the exact same distance so in order to know how to transpose music there are really only two concepts you need to understand the first concept is the
2:59 chrom atic scale which is the scale when we play every single note so if I were to play on the piano every single key including the white keys and The Black
3:09 Keys just like this every single note that is the chromatic scale so they're 12 pitches in
3:20 western music and let's just make sure we know what those 12 pitches are first so the we have first just the letters of the alphabet right a b c d e f and G and
3:30 it just keeps repeating a b c d e f g a b and just keeps going on and on and then in between those we have Sharps and flats for instance between G and a we
3:41 have this note G sharp or a flat it could go by two different names between A and B we have a sharp or B flat etc etc so in in total the notes are C c/d
3:53 flat d d/ e flat e f f/ g flat G gsh SL a flat a A/B flat and B and that's it now the other concept we need to understand is what whole steps and half
4:12 steps are they're also known as tones and semmit tones so a half step or a semitone is the smallest distance between two notes in western music for
4:22 instance if I were to play that chromatic scale again which as I said earlier is just every single note on my keyboard
4:31 both uh white and black keys so I am moving up in half steps when I play that scale so the distance between C and C Shar is a half step the distance between
4:42 C Shar and D is also a half step so the distance between every single note in the chromatic scale is a half step okay so the distance between E and
4:52 F is also a half step between F and F half step f and g half step G G and G Shar half step now the distance between two half steps is called a whole step
5:05 two halves make a hole right so that means the distance between C and D is a whole step because from C to C Shar it's a half step and from C Shar to D it's
5:15 another half step therefore from C to D we have a whole step now if you're playing a stringed instrument with Frets like the guitar or ukulele to move up a
5:24 half step you just need to move up one fret so if I just move my finger like this I'm playing the chromatic scale and I'm also moving up in half steps because
5:39 the distance from here to here is a half step from here to here is another half step from here to here is another half step half step half step half step half
5:48 step half step and then as we said earlier two halves make a hole so that means from here to here that's a whole step from here to here that's another
5:57 half whole step from here to here that's another whole step so when I move two Frets it's a whole step and when I move one fret it's a half step okay I think
6:06 now we're ready so first I'm going to show you what I believe is the easiest method to transpose music this is the first way I learned how to transpose and
6:14 it might not be the fastest but it works and if you do it this way you won't make any mistakes I also think it's pretty straightforward to comprehend so that
6:22 makes it a good first method to learn so here's the rule about transposing all we have to do is we have to shift every single note in both the chords and the
6:31 melody the exact same distance so what does that mean that means that if I move one note up three half steps then I have to move every single other note up three
6:41 half steps as well as long as I'm moving every single note the same distance it's going to be a perfect transposition and the song will still sound exactly the
6:50 same just in a different key for instance let's go back to looking at that song When the Saints Go Marching In so let's say I wanted to transpose the
6:58 song from the key of C to the key of D okay so how do I get from the note C to the note D okay now I need to count the
7:11 number of half steps or whole steps between C and D now I'm going to count going from C up to d right because if I went from C down to D that's a really
7:23 big distance right I mean we could count that that's 1 2 3 4 5 6 7 8 9 10 half steps okay if I go up to D it's 1 2 two half steps and remember when you're
7:37 counting the distance of half steps or whole steps you start counting not on the first note but you start counting on the second note because we're counting
7:48 the distance between the notes right so I don't go one half step two half step three half steps I have to think from C to C Shar okay that's one half step and
7:57 then from C to d That's two half steps so you play your starting note and then you start counting after that one half step two half step okay just a quick
8:07 little side note make sure you're not going one half step two half step three half step so we established that the distance between C and D is two half
8:16 steps we could also call it one whole step to keep things extra simple I'm just going to refer to it as two half steps I think if you really want to be
8:24 foolproof counting it in just half steps um you're less likely to make a silly mistake I think it might be easier and quicker to use whole steps your
8:34 brain might be able to think about it faster but if you're doing this like slowly and carefully and you're new to this and you really just want to not
8:41 mess up at all if you use just half steps you're probably less likely to make a mistake so we're going to just count in half steps for now so we know
8:50 we moved up two half steps okay so I actually wrote out the melody so we can see it very clearly here okay so the notes are c e f and g Okay so this is in
9:00 the key of C and we're going to write it out in the key of D down here okay so I the note C we're going to move it up to the note D right because we need to move
9:09 it up two half steps right then the note E okay we need to move the note E up two half steps as well so let's find e on our piano and I'm going to move it up to
9:19 half steps which is going to be F and then F sharp okay so this note is going to be FP then I need to transpose the note F
9:29 okay okay so we're going to move f up two half steps so I'm going to find F on my keyboard here it is I'm going to move it up two half steps 1 2 it gets to the
9:37 note G right so that means this F is going to turn into a g okay and lastly we have this note G and we need to transpose that note up two half steps as
9:48 well so I'm going to find G on my keyboard here it is I'm going to move it up two half steps 1 2 I get to the note a so this is going to be the note a and
9:57 really I don't need to do the rest of it CU it's just repeating the same Melody okay so you can see the notes went from c e f g to d f g a and now let's play
10:11 that that little Melody d f g a sounds right right and there we have it we transposed it from the key of C which sounded like
10:27 this [Music] to the key of D which sounds like [Music]
10:46 this pretty straightforward right also just as a quick little side note um if we were transposing this to the key of D major we might also just want to write
10:55 in the key signature on the staff it's like so which would look like this so I have my f Shar and my C sharp so when you put those two sharps at the
11:03 beginning of the music and we're playing in a major key then it means we're in the key of D major and then it also just means that any F note or C note in the
11:11 song is sharpened so in which case I would not even need to draw that sharp in front of that F note I could just do it like this and then it would be
11:19 implied that that note f is FP but we don't have to worry about that right now I'm just writing the sharp in front of the note just to keep it very
11:27 straightforward but if you're wondering yes yes I could just write in the key signature and then it would be assumed it's FP that is also correct now just in
11:34 case you're curious remember how I said we could think of going from C to D is just moving up two half steps or moving down 10 half steps right because I can
11:43 get from C to D like this but I can also get from C to D like that just to show you what I mean we could also figure out the melody that way too so it would be a
11:54 little crazy and but just to show you that it would technically work so let's say instead of moving everything up two half steps I'm just going to move
12:00 everything down 10 half steps okay so the first note C we moved it down 10 half steps and got to D now the second note in the melody is e so now I'm going
12:09 to move e down 10 half steps ready 1 2 3 4 5 6 7 8 9 10 okay and we got to F sharp right and that's correct right then the next note in the melody is f in
12:25 the key of C major so we're going to move that down 10 half steps Now 1 2 3 4 5 6 7 8 9 10 okay so far it's looking good d f g sounds right right then
12:38 lastly the note is a g we're going to move that 10 down 10 half steps 1 2 3 4 5 6 7 8 9 10 and we end on a so that means the melody is
12:50 this d f g a it worked as well so as you can see moving it down 10 half steps or up to half steps it worked the same way we still got to the same notes we in the
13:04 key of D when we reached the key of D we found the notes d f g a doesn't matter which direction we went it just is a lot easier to count notes only two half
13:15 steps rather than 10 half steps so I just wanted to show you that it would work if we moved it down 10 half steps too because why does it work both ways
13:23 it works both ways because as long as this is the big rule of transposition as long as every single note is getting moved to the exact same distance the
13:30 same distance of whole steps and half steps then it will be transposed properly and so since we moved every single note down 10 half steps it worked
13:39 fine and since we moved it up every single note up two half steps it also worked fine so now let's say I wanted to transpose this song from the key of C
13:48 major to the key of a major okay just for fun all right so here's my starting note C or I could just think of the key of C um because sometimes the starting
13:58 note of a song very very often the starting note of the song is not also the key but in this case it is so we're starting on C and it's in the key of C
14:06 but doesn't always happen that way so whatever let's think we're in the key of C so we're finding C and then we want to get to the key of A okay now I can go up
14:15 to a like that or I could go down to a all right you can see it's a much smaller distance to go to go down to a then up to a right so I'm going to count
14:25 the half steps down just cuz I want it to be the smallest distance possible so let's count the number of half steps to get from C to a so I'm going to go 1 2 3
14:35 all right I had to move down three half steps not up three half steps down three half steps if I went up I'd have to move 1 2 3 4 5 6 7 8 nine I'd have to go up
14:48 nine half steps so what does this mean this means to go from the key of C major to the key of a major I need to move every single note either up nine half
14:56 steps or down three half steps okay so we're going to move everything down three half steps CU that's a lot easier to count out so the melody is C E F G
15:08 right now I'm going to first move the note C down three half steps 1 2 3 I get to the note a the next note was e right so this E I need to move that down
15:20 three half steps I'm going to go 1 2 three I get to the note C sharp okay so that means that's the second note in the song so it's a C sharp okay the next
15:32 note in the song in the key of C major is f let's move that down three half steps 1 2 3 I get to the note D okay so that means we now have a c Shar D and
15:44 then the final note that we're going to look at is the note G in the key of C and we're going to move that down three half steps we go 1 2 3 we get to the
15:53 note E so that means in the key of A the melody is a c d e a c d e a c d e c a c b and there you have it so as you can see we just had to
16:09 move everything down three half steps and it worked again okay now we're going to look at something slightly different here by the way if you're enjoying this
16:16 video please don't forget to give it a thumbs up leave a comment to say hey share it with a friend and if you're new here please consider subscribing it
16:24 really helps me out a lot also if you want to learn music from me in a more methodical approach you can check check out the courses I have in a link in the
16:31 description below so now we're going to practice just transposing the chords of a song and we're going to be using more or less the same method okay and let's
16:39 imagine that we actually have a chord chart and we just want to transpose the chords in the chord chart and maybe I'm a singer and I want to give my band
16:47 members a chord chart so that they can play the song with me this is is very common in a band setting that you would just give the musicians just a chord
16:55 chart you don't necessarily need to give them all the music written out lot of jazz and rock musicians can follow along just with a chord chart like this okay
17:03 but let's say I'm the singer and I want to sing the song in a different key so I need to give my band members chords transposed to the key that I want to
17:11 sing it in so let's analyze how we might go about doing that so transposing just the chords now in this scenario the only thing we're going to be changing is the
17:21 root note of each chord not the chord qualities now what does that mean exactly so every single chord name has two parts to it there is the root note
17:31 of the chord name and the chord quality of the chord name what does that mean let's look at this chart so the very first chord is D Minor 7 okay so the
17:40 root note of that chord the root of the chord is D okay but the chord quality is Minor 7 so that means I'm going to be changing the root note D in that chord
17:51 to something else but the chord is going to remain a minor 7even chord for instance if I'm transposing this up two half steps this chord would turn into E
18:00 minor 7 but it's going to stay a minor 7 chord let's look at this chord G7 G7 what is the root note of the chord the root note is G and the chord quality is
18:12 dominant 7 also known as seven in the chord name look at this chord this is a C major 7 that little triangle is a shorthand symbol for major Okay C major
18:24 7 what's the root note of C major 7 the root note is C and what's the chord quality major 7 how about this chord the root note is f and the chord quality is
18:38 seven or dominant seven right this chord what's the root note E what's the chord quality Minor 7 right uh let's look at this chord right here this is what's the
18:50 root note of this one this F minor 7 that's an F minor 7 chord what is the root note the root note is F sharp okay so the sharpest part of the root note
19:01 and the chord quality is Minor 7 okay this chord right here a flat minor 7 what's the root note the root note is a flat and the chord quality is Minor 7
19:15 we'll do this one uh d flat 7 what's the root note D flat and what's the chord quality dominant 7even last but not least let's look at
19:27 this one down here this is a an A7 flat 9 chord what is the root note the root note
19:34 is a right and then what's the chord quality the chord quality is 7 flat 9 okay so the root note of a chord is really just the first letter of the
19:46 chord and if there's any sharp or flat right next to that letter so in this case see there's an f and there's a sharp right next to it so that sharp is
19:53 part of the root note it's F sharp is the root note now if you see a sharp or a flat later in the coordinate like here A7 flat n that flat is not right next to
20:02 the a right that little flat is after the seven therefore the flat nine is part of the chord quality so the root note is just a okay so the root note is
20:13 just the note name at the very beginning of the chord name whether it's c g d e flat whatever it is so the first letter plus any sharper flat that's right next
20:23 to it and then the chord quality is everything else that comes after it so when we're transposing the chords in a chart the only thing that we're shifting
20:31 is the root note of the chord we're not touching the chord qualities at all the chord qualities remain exactly the same when we transpose from one key to
20:40 another the only thing that changes is the root note something else that also changes in the chord is if you ever see a chord with a slash mark and then
20:49 another note underneath it like this says D Minor 7/ C it's like over C whenever you see a chord written like that with a slash mark and then another
20:59 note name underneath that slash that note that's underneath the slash is just telling the person playing the music what the lowest note should be so really
21:07 it's something that bass players pay attention to the most but whenever you do have a slash chord like that where it's D Minor 7 over C we are also going
21:16 to transpose that c That Base note okay so we're going to transpose all the root notes as well as the base notes written in with little slash marks like that
21:26 okay so let's transpose this song now from the key of C major to the key of E flat major so we want to go from C major to E flat major okay so first let's
21:38 figure out the distance between the notes c and e flat okay so to go from C to E flat we go let's see here's C and then E flat is right here it's also
21:50 right here obviously it's closer to go up to the E flat than down to the E flat so let's count how many half steps are
21:58 between c and e flat we start on C we go 1 2 3 it's up three half steps so to get from C to E flat we're moving up three half steps so that means we are going to
22:10 be moving every single root note in all the chords up three half steps all right so let's try to transpose the first two chords in the song the first two chords
22:21 are D Minor 7 and G7 okay this chart is in the key of C major just to clarify this is the key of
22:31 C major and we're moving it to the key of E flat major so we need to change these two chords we need to move them up three half steps okay CU to get from C
22:41 to E flat we move up three half steps so first we're going to transpose this chord this D Minor 7 so let's find the note D on the piano here's D okay and
22:51 I'm going to move it up three half steps ready 1 2 3 I get to the note F so D Minor 7 is going to be become F minor 7 okay cuz remember how I said the chord
23:04 quality stays the same so it's still going to be minor 7 it's going to be something minor 7 but it's going to it's just the D is what changes to an F so
23:12 it's F minor 7 okay now let's try the next chord okay this next chord is G7 so we're going to find G on our keyboard here's G and we're going to move up
23:23 three half steps 1 2 3 okay I get to this note which is a sharp or B flat okay now I'm going to write B flat
23:36 7 now I could call it a Shar 7 and if I handed my band a chart that said AAR 7 they would know what I meant because a Shar and B flat it's the same pitch
23:50 right it's the same it's basically the same note however since we're moving it to the key of E flat I would probably refer to it by the flat flat name
23:59 because the key of E flat is a major key that has Flats in it let me explain what I mean by that really quickly here is the circle of fourths and fifths okay um
24:10 it's also a clock this is actually a clock that I have for sale it's my circle of fifth clock uh which you can purchase in a link in the description
24:18 below um anyway so this is the circle of fifths and it very nicely lays out which Keys have Sharps and which Keys have flats in them so I want us to just look
24:29 at the notes that are along the Outer Circle cuz these are our major key signatures along the Outer Circle so if you see here um C major at the very top
24:39 C major has no Sharps and no Flats in it but all the keys on this right side have Sharps and all the keys on this left side have flats okay now when we get to
24:50 the bottom three you can see that there actually are two note names written in the bottom three and they are what we call inharmonic equivalent so inharmonic
24:59 equivalents are just um two notes that have the exact same pitch but different names so remember when I was talking about B flat and a sharp B flat and a
25:08 sharp are inharmonic equivalents it's just a fancy way to say two notes that have the same pitch but different names so when I play a sharp and when I play B
25:16 flat sounds exactly the same it just has two different names that can go by so d flat and C sh are in harmonic equivalent f and g flat are in harmonic equivalence
25:26 and B and C flat are in harmonic equivalence now if I'm looking at these keys that are sh have sharps in them G Major D major a major E major B major is
25:36 the one that has sharps in it because well C flat is the other one and if it has a flat in its name it's going to have flats in the key signature so B is
25:44 the one with Sharps between FP and G flat which key do you think has sharps in it FP right the one that has a sharp in the name and then between c and d
25:53 flat which one do you think has sharps in it it's going to be C so those are all all of our keys with sharps in them now the keys with Flats in them when we
26:03 get down here we get to dlat is going to be the key that has Flats g flat also has flats and C flat also has Flats okay now if you're a little confused about
26:13 what I just said and talked about I do have a video about the circle of fourth and fifth that breaks down the key signatures what I'm really talking about
26:21 when I'm talking about the sharps and flats in them into into a lot more detail so definitely check that video out I'm going to put a link to it in the
26:29 description below because I think it will all make sense if you just watch that video so watch that video on the circle of fifth if you're confused about
26:35 what I was just talking about but anyway basically we can see here that E flat is a key that has Flats in it right so since it's a key with flats and what I
26:46 mean by that is like if you look at an E flat major scale so the notes in an E flat major scale are E flat F G A flat B flat C D and E flat so as you can see
26:56 there were no notes that had sharps in that scale right it only had notes with Flats so therefore E flat is a major scale that has Flats in it that's what I
27:04 mean by that anyway I'm gonna put this little clock away again it's a very nice clock if you would like to have one yourself you can check out the link in
27:12 the description below so as a general rule of thumb when we're transposing and we're trying to decide H well should we write the chord
27:20 name that has a sharp in it or a flatten it if it's a key with sharps in it we're probably going to write the sharp name and if it's a key with Flats in it we're
27:28 probably going to write the flat name there of course are exceptions and this gets into kind of complex territory um for instance if you have uh some kind of
27:38 secondary dominant happening or there's a 251 progression in a different key happening um actually let's check out this chart right here and I'm just going
27:47 to this is a little bit of a tangent but I for those of you who are ready to handle this it's actually I think quite helpful to go over this might be a
27:55 little complex for some people but um if it is don't worry so let me show you what I mean we're this song is in the key of C major okay but we have actually
28:05 right here a 251 chord progression in the key of E major check it out F minor or F minor 7 going to B7 going to E major 7 that is actually a 251 in the
28:21 key of E major let's write out an E major scale really quickly okay so I wrote out the notes in an E major scale now I'm going to turn each
28:33 of these notes into uh a dionic chord so we're going to be looking at the dionic chords in the key of E major um if you don't know what I'm doing I'll also put
28:42 a link to a video that goes into detail about that E F minor gsh minor this is an E major chord uh a major B7 C Shar minor
28:58 and D sh diminished okay so these are our dionic chords in the key of E major and if we were to write them out with Roman numerals it would look like
29:12 this okay so here are our chords with Roman numerals now a 251 chord progression you might have heard that before it's very very common uh 251
29:23 let's write it out two five one like that now let's look at what a 251 in the key of E major IS F minor that's our two
29:34 chord right what's the five chord the five chord is B7 or B B major or B7 I wrote a B7 you're basically serving the same
29:44 harmonic function and then the one chord is e major okay so F minor to B7 to E major that is a 251 chord progression in the key of E major if you want to hear
29:56 what it sounds like it sounds like this [Music] so now let's pull this chart back up again see how we had F minor 7 a little
30:08 uh this little minus symbol is another way to write minor same with a lowercase M so F minor 7 s again it's it's very similar to F minor just because we added
30:18 a seven it's still serving the same harmonic function okay it's just we just turned into a seven chord instead of a Triad so we have F minor 7 then we go to
30:26 B7 okay and then we go to E major by the way this little symbol right here if you ever see this symbol in a chord chart it just means play whatever happened in the
30:36 previous measure again so in this measure we're going to again play F minor 7 and B7 F minor 7 B7 it's saying do what you just did in that previous
30:46 measure do it again so we would go F minor 7 and B7 just so you know so anyway that's a 251 in the key of E major and so because of that we would
30:57 write f sharp minor 7 instead of g flat minor 7 okay because we want to stay true to this 251 progression in the key of E okay now if you wrote g flat minor
31:10 7 in the chart instead of F minor 7 it's okay people are going to forgive you they're going to know what you mean your band will still be able to read the
31:19 chart you still transposed it more or less correctly it's fine but if you want to be technically correct it's probably a better decision to write F minor 7 to
31:30 B7 to e okay now I downloaded this chord chart from the iral Pro app and I actually think there's if we want to get technical here I think that these really
31:41 should be written as Sharps instead of flats because they're basically like a 251 leading us to this FP as well uh what do I mean by that let's let's just
31:52 uh write this out okay let's write out an FSH major
32:02 scale okay here are the notes in my F major scale and now I'm going to turn every note into a chord the dionic chords F major gar minor AAR minor E
32:14 major c 7 D minor and E diminish okay those are the dionic Cs again I will write Roman numerals 1 two three four five six okay so these are my Roman
32:30 numerals now what's a 251 chord progression in the key of FP well let's write it out so we have two five 1 well why don't you tell me what's the two
32:42 chord g Shar Miner what's the five chord c
32:51 7 and what's the one chord F major Okay so so that's a 251 chord progression in the key of f now what is the inharmonic equivalent of G sharp and
33:04 C Shar all right well let's we can flip this over real quickly and look at so gsh here's my note gsh it's also a flat so this gar minor could also
33:15 be a flat minor right I'm just writing this off to the side a flat minor c 7 well what's the inharmonic equivalent of C here's CP so it could also be a d flat
33:27 right so could be to d flat 7 a flat minor to d flat 7 right and then if we are going to what's the inharmonic equivalent of
33:39 FP inharmonic equivalent of f is g flat right so we could write this as a flat minor to d flat 7 to g flat okay so I just wrote these three cords out uh
33:53 basically in the key of G flat instead of the key of FP okay so they they going to sound identical it's just they're just in harmonic equivalence of one
34:01 another okay uh this is getting a little complicated so if you're feeling overwhelmed don't worry and I'm actually going to put a bunch of links to videos
34:08 I think you should watch if you're confused also I do have a big music theory playlist on YouTube that you can watch and I will put a link to that
34:16 music theory playlist in the description as well um and you will definitely understand Concepts like this no problem if you go through that playlist I'm also
34:26 in the process of making a bunch of courses as well um that go through a lot of this material in even a more structured format um so I'll put links
34:35 to those courses as well in the description below um especially as I continue to make them okay so anyway where were we a yes so this is a little
34:42 weird in this chord chart check this out what they wrote they chose a flat minor 7 and d flat 7 right a flat minor to d flat right and but then they're going to
34:55 F minor 7 okay and that's kind of weird because I feel like if we were doing a flat minor d flat um we should then go to g flat not FP right but they have it
35:07 going to FP so it's sort of like they used these two chords and then they switched to FP um and so I think if I were writing this chart out myself I
35:17 actually would have written this as a gsh minor 7 and a c 7 because then we're going to this F minor 7 just to keep it like true to that 251 to F minor 7 and
35:29 then why is important to use this F minor instead of the G flat well just like we did up before F minor 7 to B7 is a 251 in the key of E so we're going F
35:41 minor to B7 to E major 7 so there's 251s all over the place we have a 251 here then we have another 251 there and then we have another 251 there and even
35:52 though usually when we do a 251 the one chord is a major chord you know what I mean by that like this is 251 see it ends on FSH major not F
36:03 minor that is true however we can always switch out major chords for minor chords and again this is getting into complex territory so I don't want to get too
36:16 bogged down into it but basically even though it's an F minor chord it's still it's still a type of 251 chord progression okay so because of that I
36:28 would personally write gsh Minor 7 to C Shar 7 to F minor 7 that being said and actually I'll even cross this out and write my
36:44 edit now what's the moral of the story here what's the lesson all right well one of the lessons I think you should take away is that even the iral Pro app
36:54 wrote technically what I would say is the wrong and harmonic equivalent chord they wrote the a flat and the d flat instead of the
37:02 gsh and the C so my point is if you write the wrong one it's not the end of the world if you should have written an A flat but you wrote A G sharp or vice
37:11 versa it's not the end of the world as I said anyone is still going to be able to read your chord chart they're still going to know what you mean a flat and
37:19 GARP sound exactly the same they are the exact same pitch when I play them this is an A flat and this is a g Shar they sound exactly the same so at the
37:31 end of the day don't stress it too much if you transpose a chord chart and you have you wrote in a flat when you should have written in a sharp or vice versa
37:40 it's not a huge deal as I said people will still know what you mean but typically as an overall rule if the song You're transposing to or if the chart of
37:50 the song is a key with sharps in it you're going to want to use more chords that have Sharps if it's a key with Flats in it you're want to use more
37:58 chord names that have flats in the name and if there's a moment when in the song You temporarily go to a different key like for instance in this little 251
38:07 moment we're technically in the world we technically kind of take leave the key of C major during this section and we go to the key of E major right because we
38:16 temporarily transport to the key of E major and play a 251 chord progression in the key of E major therefore we're using Sharps okay so if the song is
38:26 temporarily going to another another key then you would use um the accidentals uh the sharps and flats of that other key but if not as a general rule of thumb
38:36 you can use Sharps and sharp keys and flats and flat keys and if you make a mistake with it unless you're taking a music theory exam in college or
38:43 something like that it's not the end of the world okay so don't stress it too much anyway this was a gigantic tangent but I think it's a valuable uh lesson
38:52 and it's something that some people might be wondering so that's why I wanted to go over it anyway let's continue you transposing the chords of
38:58 this song okay so back to T for two we're going to go back to transposing the key from C major into E flat major okay so here I have uh my chord chart of
39:12 py for two and the key of C and these are all the chords on the top the first line of the of the chart okay D Minor 7 G7 C major 7 F7 E minor 7 and A7 okay so
39:23 we're going to transpose all these chords from the key of C major to the key of E flat major so how do we do that we're going to take every root note in
39:30 every chord and move it up three half steps okay so let's do that together the first chord D Minor 7 we're going to take the note D and we move it up three
39:39 half steps 1 2 3 becomes F minor 7 we actually did these two already so we'll just write them out again F minor 7 G7 becomes all right here's my G we go 1 2
39:55 3 it becomes B flat 7 that was when I took my gigantic tangent CU I was explaining why we write B flat instead of a Sharp Okay C major 7 Let's see we
40:08 find the note C we move it up three half steps 1 2 3 becomes E flat major 7 E flat major 7 then we have F7 okay here's F I'm going to move it up
40:23 three half steps one two three so this is a flat and so F turns into a flat and remember the chord quality always stays the same so it's a flat 7 right same had
40:37 this one C major 7 it still is a major 7 chord it's just E flat major 7 now let's look at this one E minor 7 okay so the root note is what e right so we're going
40:47 to take e we're going to move it up three half steps find e on your keyboard we're going to go 1 2 3 we get to the note G so we have G G and then we keep
40:59 the cord quality the same so it's G minor 7 so the Minor 7 carries over last but not least we have A7 so let's find a on our keyboard
41:09 we go 1 2 3 we get to the note C so we have C and then it keeps the same chord quality so it's C7 okay now if you're doing this method
41:20 I do recommend you use a keyboard to count out the number of half steps just because it's really clear and easy if you want to make sure you don't make any
41:27 mistakes just use a keyboard you could even look at a picture of a keyboard on your phone or something and count up that way but that is a nice way to
41:35 visualize it okay so that means I can take my chord chart and I'm going to cross out these chords so D Minor 7 is turning
41:48 into so see this D Minor 7 is going to become an F minor 7 okay I don't know if you can see that and and we could actually take every D
41:58 Minor 7 in the song and change it to F minor 7 so I could go here's another one do you see any other D Minor 7s oh there's a d flat 7
42:11 uhuh uhuh but we can't we can't do that that's different because it's a d flat instead of a d so d flat and D are different so that that would not work
42:19 here's another D Minor 7 so we can turn that into F minor 7 oh there's another one and another one and another one okay
42:26 I'll do all those F 7 F 7 F 7 here's another one now this one let's look at this one D Minor 7 over C all right so we know that the D Minor 7
42:40 is going to be F minor 7 but it's over a c and we need to move the C as well see it's a chord with a slash
42:49 in it it's dor 7 over C so we need to move that c up three half steps as well so let's see we have C we go 1 2 3 goes to E flat okay so it's an F minor 7 over
43:06 E flat okay we can just write like that so I'll cross that one out too okay now we can write in the next one so we said G7 turns into B flat 7 right so I can
43:17 take this G7 cross it out and write B flat 7 and I can do it for every G G7 in the song right B flat 7 are there any other G7 here's
43:30 another one B flat 7 let's see here's another one B flat 7 here's another one B flat s oh here's another
43:41 one B flat 7 okay all right let's look at the next chord the next chord is C major 7 turns into E flat major 7 okay so here's my C major 7 I'm going to turn
43:53 that into E flat major 7 triangle is a symbol for major okay oh here's another one I can turn that into an E flat major 7 H let's see oh here's another C major
44:04 7 I can turn that into an eat major 7 let's see any others no that's it okay now since I know that c is turning into E flat like I know that the root note if
44:16 any chord has the root note C it can turn into the same chord with an E flat in the root so down here I have a C6 so just to speed up my process a little bit
44:25 I could also turn this into an E flat 6 okay because I know that the root note C is always going to turn into the root note E flat now if there was a chord in
44:37 here that said c Shar no no no I can't turn that into an E flat because C is different than C but if you see a c natural I could technically just turn it
44:47 into an E flat in the chord okay so let's keep going F7 F7 turns into a flat 7 right okay so let's write that in a flat
45:00 7 let's see do we see any other f7s okay that's F sharp that doesn't work that's a f is a different root note than F we need FS oh here's an F7 so that can turn
45:10 into a flat 7 any other F7 well I see an F major 7 so we can since F that's the same it's not an F7
45:24 it's an F major 7 but the root notes are the same F and F right same root note so we could turn this F major 7 into an A flat major 7 because I know the root
45:33 note F turns into a flat when we're transposing it up three half steps so this is going to be a flat major 7 okay a flat that's an
45:45 A flat okay hopefully you can read my bad handwriting a flat and major 7 okay next chord E minor 7 turns into G minor 7 so oh E minor 7 comes G minor 7 let's
46:01 see are there other E minor 7s here's another E minor 7 becomes G minor 7 any other eor 7 oh here's another eor 7 I'll turn that into
46:12 G minor 7 let's see okay well there's an E major 7 and yes E major 7 and E minor 7 have the same root note right they both have e so
46:23 I can turn this into a G major 7 and this also into a G major 7 okay um the same rule would apply to
46:34 this e half diminish 7 that's a little symbol for half diminish by the way so this I can just turn into G half diminish
46:43 7 um this uh e diminish 7 can turn into G diminish 7 same with this one this can be G diminish
46:55 7 uh this e half diminish 7 again can also be G half diminish 7 um this E flat diminish 7 no no we cannot move that to a g because it's E
47:07 flat and not e natural so different different root notes so we can't mess with that one yet now A7 is the last one on the top line that turns into C7 so A7
47:18 becomes C7 let's see if there any other a7s here's another A7 that becomes C7 here's another A7 that com C7 here's an A7 flat 9 same root note so we can just
47:31 turn that into C7 flat 9 okay oh here's another A7 flat 9 so again I can turn that into C7 flat 9 or any other a Naturals no there's an A
47:46 flat but that's a different root note so we can't do that one okay okay so I actually saved a lot of time by just anytime I saw the other notes just
47:56 filling them in already in the chart um but let's look at some of the other chords now that need to still be transposed in this
48:05 song okay so here are some other chords in the song that need to be transposed see F minor 7 B7 um a flat minor 7 d flat 7 B flat 7 these are all chords
48:18 that need to be transposed still so let's figure out these chords now okay so we need to move the root note in all of these chords again up three half
48:26 steps so let's check it out so what's the root note of this chord do you know it is FP right so we're going to find F on the piano we're going to move it up
48:36 three half steps 1 2 3 you get to the note a so this turns into an A and then we keep the chord quality the same a so it stays Minor 7 so a minor
48:46 7 okay B7 what's the root no b seven is Chord quality so B we're going to find B here's a b we're going to move it up three half steps 1 2 3 we get to D so
49:00 this becomes D7 D7 all right a flat minor 7 what's the what's the root note A Flat's the root
49:09 note right so we're going to find a flat we're going to move it up for half steps 1 2 3 we get to B so we have B minor 7 right because the chord quality Minor
49:19 7 stays the same next we have d flat 7 so let's what's the root note of d flat 7 d flat right so let's find d flat on our keyboard we're going to move it up
49:29 three half steps 1 2 3 we get to e so we have E7 okay last but not least we have B flat 7 what's the root note B flat is
49:41 the root note so let's find B flat on our keyboard we're moving it up three half steps 1 2 3 we get to d flat so B flat 7 becomes d flat
49:52 7 that's a d okay d flat 7 just like that so let's write in these chords on our chart the F minor 7 becomes a minor
50:07 7 okay right A Minor 7 oh here's another F minor 7 let's see any other F minor S I don't see them okay next chord is B7 right B7
50:21 becomes D7 so I can take this B7 and turn it into D7 again here's another B7 I can turn it into D7 let's see I don't see any other
50:33 b7s okay okay next chord is a flat minor 7 turns into B minor 7 so this a flat minor 7 right here it's going to turn into B minor 7 okay the d flat 7 turns
50:49 into E7 this becomes E7 B flat 7 turns into d flat 7 so this B flat 7 turns into d flat
51:03 7 and then oh there's one that we didn't do that's E flat diminished 7 so what's the root note of E flat diminished s it is E flat right so let's find the note E
51:15 flat move it up three half steps 1 2 3 we get to the note g flat okay so we can write g flat diminish 7
51:27 and voila we have uh transposed every single chord in this chart to the key of E flat pretty cool right so as you can see it's actually not very hard to
51:37 transpose chords in a chord chart remember the rule is you just have to move every single root note of every chord or the Basse note if it's a slash
51:45 with chord with a bass note in the bottom you just have to move all those notes the same distance the same number of half steps and if you just use a
51:53 keyboard just it's a very easy process to do now there other ways to transpose music but if I tried to include them all in one video the video would be way too
52:01 long so I'm definitely going to make a part two video that goes over another method that I like to use a lot when transposing music so stay tuned for that
52:10 part two video and I'm probably going to make a part three video as well that goes over how to use a capo and what exactly a capo is so this will be
52:18 probably at least a three-part series on transposition if not more um so stay tuned for those videos when I do make them I will post them as links in the
52:27 description below also if you enjoyed this video please don't forget to give it a thumbs up leave a comment say Hey or ask any questions share it with a
52:35 friend and if you're new to my channel hello and welcome my name is Gracie Terian and I post one video a week here on YouTube if you haven't subscribed I
52:42 would love to have you on board and if you have subscribed but you want to be notified whenever I post a new video be sure to turn on the Bell notifications
52:50 whenever you leave a comment or give me a thumbs up it really helps my channel out a lot so I really appreciate it if you do that if you want to practice what
52:57 we learned in today's video I do have a printable PDF I have a printable PDF summary of just all the information I went over in the video and I also have a
53:05 printable PDF worksheet where you can practice transposing yourself I have the worksheet as well as the answer key of course also if you're looking for a more
53:13 structured approach to learning music I do have courses for sale which you can also check out in a link in the description below if you have your own
53:20 favorite method for transposing music or a cool trick that you might want to share with us be sure to write it in the comments because people really do read
53:27 other people's comments and I love when people give advice or share their own little uh tricks in the comment section I just think it's really helpful for
53:34 everyone who's watching the video and so please if you have any favorite way to transpose or any any tips or tricks be sure to write those in the comments so
53:41 that we can all know them and benefit from them anyway that is it for today guys thank you again so much for watching I hope you have a wonderful
53:48 rest of your day or night and I will see you next week