MargrietMargriet
 
 
 

Composer Margriet Verbeek

Was born in 1957 in Leiderdorp (The Netherlands)
Studied classical guitar with Baltazar Benitez at the Brabant Academy for Music
Studied composition with Jan van Dijk in Tilburg (The Netherlands)
 
This Page in English   Deze pagina liever in het Nederlands
 
Homepage     Transposing Course     Empty Staff Paper
 
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Ad-VSM     Sheet Music for:     Saxophone     Piano     Clarinet     Violin     Recorder     Mandolin     Guitar

 
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Dutch Composer Margriet Verbeek
Margriet Verbeek
 
 
 
 
 
Popular arrangements
for 2 recorders (flutes),
and guitar

Folk Songs, Christmas Carols and Light Classical Music.  
 
 
 
 
The japanese poet, Taro Aizu, wrote his gogyoshi (japanese poetry) about the frightful nuclear disaster in Fukushima in 2011.
The japanese poet Taro Aizu wrote many gogyoshi (japanese poetry) about the frightful 
nuclear disaster in Fukushima in 2011.
This inspired the Dutch artists Ed Hanssen and Fred van Welie to start the Gogyoshi-Art-Project-International. Many expositions were the result.
I also join this group. My contribution is a 25-minutes sound collage around two poems: 'The children of Fukushima' and 'The cat.'
The CD with my sound collage.
My composition was played during an exposition in 2013, in Grou (The Netherlands), in 2014 in Munich (Germany),in 2014 in Faro (Portugal), in 2015 and 2016 in several South-Korean towns, and in 2017 in Maaseik (Belgium).
 
Listen to the CD - YouTube
 
 
 
 
2012 was a commemoration year for the composer Clemens Non Papa, who was then born 500 years ago. To celebrate this, 53 Dutch and Belgium composers composed new versions of his 
15 (psalms) for choir.
2012 was a commemoration year for the composer Clemens Non Papa, who was then born 500 years ago. To celebrate this, 53 Dutch and Belgium composers composed new versions of his 150 Souterliedekens (psalms) for choir.
 
 
 
 
GeNeCo Centennial Celebration Concert in Schiedam
In November 2011 I leaded the GeNeCo Centennial Concert in Schiedam. GeNeCo is the Dutch Composers Association.
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GeNeCo Centennial Celebration Concert in Schiedam
 
 
 
 
The 15h of May 2010 Eddy van der Maarel presented our CD during a concert in the pretty church at Wilhelminaoord.
The 15h of May 2010 Eddy van der Maarel and I presented our new CD during a concert in the pretty church at Wilhelminaoord.
The 15h of May 2010 Eddy van der Maarel presented our CD during a concert in the pretty church at Wilhelminaoord.
 
 
 
 
Emag in Utrecht
During the European Mensan Annual Gathering in 2009 in Utrecht, a group of musicians and the audience performed together my graphic score under my direction.
Emag in Utrecht
 
 
 
 
The Dutch Association for Mandolin Orchestra's celebrated her 60th anniversary in October 2007, by giving a concert in Gorinchem. I composed a piece for the Youth Orchestra (21 members) for this occasion. The Youth Orchestra performed The Smoking Chimney during that concert in Gorinchem, under direction of Benny Ludemann.
The Dutch Association for Mandolin Orchestra's celebrated her 60th anniversary in October 2007, by giving a concert in Gorinchem. I composed a piece for the Youth Orchestra (21 members) for this occasion. The Youth Orchestra performed The Smoking Chimney during that concert in Gorinchem, under direction of Benny Ludemann.
 
 
 
 
Mandolin-ensemble The Strings, at the first performance from my l'Artibonite in Bamberg - 2006
Mandolin ensemble The Strings, at the first performance from my composition 'l'Artibonite' for mandolin ensemble, in Bamberg - 2006
 
 
 
 
11 members of the three brass bands in Midden-Delfland play my compositions Festival in 't Woudt, and Green, Green Midden-Delfland, directed by Pasha Ashari, in the presence of our Dutch Queen Beatrix (November 2005)
11 members of the three brass bands in Midden-Delfland play my compositions Festival in 't Woudt, and Green, Green Midden-Delfland, directed by Pasha Ashari, in the presence of our Dutch Queen Beatrix (November 2005).
Here Queen Beatrix talks with me, after having listened to my music
 
 
 
 
My composition Fleur for solo guitar, won the first price at the Eight International Competition for Composers in Corfu-Greece (2005).
My composition Fleur for solo guitar, won the first price at the Eight International Competition for Composers in Corfu-Greece (2005).
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My composition Fleur for solo guitar, won the first price at the Eight International Competition for Composers in Corfu-Greece (2005).
 
 
 
brimstone moth
 
 
 
Link naar facebookpage
 
 
 
 
Did you know that I also wrote Young Adult/Fantasy series?
(In Dutch)
De Troostlelie
(The Comfort Lily)

 
The first part of the Comfort Lily, called The Mysterious Coat
The first part of The Comfort Lily is called
The Mysterious Coat.
 
Buy the books (only in Dutch)
 
 
 
 
 
The second part of The Comfort Lily is called The Crevice of Horror
The second part of The Comfort Lily is called
The Crevice of Horror.
 
 
 
 
The third part of the Comfort Lily, called The Sleeping Bears
The third part of The Comfort Lily is called
The Sleeping Bears.
 
 
 
 
Click here and scroll down
to find compositions for:

 
Clarinet
 
Saxophone
 
Brass Band
 
Clarinet Trio
 
Flute
 
Recorder
 
Piano
 
Guitar
 
Two Guitars
 
Mandolin
 
Violin
 
Church Organ
 
Mezzo Soprano
 
Soprano
 
Carillon
 
Choir
 
String Quartet
 
Flute Quartet
 
Mandolin Trio
 
Mandolin Orchestra
 
and more...
 
 
 
 
 
Brimstone Moth
 
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Learn to Transpose, Step by Step

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Transposing... what does that mean?

Just imagine: You play the clarinet and you would like to play some music with the girl next door who is playing the flute. You take her book, and with the two of you together you start to play the first melody on page one. How long do you think your performance will last?
I guess: not longer than a second or three...
It sounds HORRIBLE ! ! !
Why?
 
If a flute player sees the note C and plays it, you will indeed hear the note C, for flute is a non-transposing instrument. But if a B-flat clarinet player sees the note C and plays it, you actually don't hear a real C, but a B-flat. The pitch of the note sounds a whole note lower than notated. As long as the clarinet player plays alone, or together with other B-flat instruments, it doesn't matter, but when a clarinet player wants to play along with a non transposing instrument, like a flute, a piano, a keyboard, a violin, or other C-instruments, than he should copy down his music on a separate sheet of paper and transpose it into another key, for only then it will fit together, only then will it sound well together with the other instruments.
 
Transposing is to summarize in three steps:
 
1 - write the right key signature.
2 - copy down the notes in the right pitch.
3 - fill in the accidentals.
 
How to do this exactly we will learn below.
 
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T I P !

      If you scroll down and glimpse at the pictures and the text,
      it will seem to be a very long and complicated story.
      So: Don't do that!
 
      Take the time to read each block of this page and copy down
      the example of the notes.
      If you do, you will find out it really is not difficult.
 
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How to find out whether your instrument is a transposing instrument or not.
 
Play a C on your instrument and compare the sound of it with a C played on a piano. (or an organ or keyboard) If the C you played on your instrument sounds in the same pitch as the C on the piano, you don't have a transposing instrument.
 
If you discover that the note which was notated as a C for your instrument happens to be a B-flat on the piano, then you know your instrument is a B-flat instrument.
Is the C you played on your instrument an A on the piano?
Then you have an A-instrument. Etc.
 
You still can't find out? Ask your music teacher, or another person who plays the same instrument you do.
 
You now know to which key you have to transpose? Then you may go on with the next block of this page:
 
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Click the link below to learn to transpose for a:
 
B-flat instrument (Si bemol)
(like a B-flat Clarinet, a Trumpet or a Tenor Saxophone)
 
E-flat instrument (Mi bemol)
(like an Alto Saxophone or a Bariton Saxophone)
 
F instrument (Fa)
(like an F Horn or an Alto Oboe)
 
A instrument (La)
(like an A Clarinet)
 
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How to Transpose for B-flat Instruments

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Step 1 - Write the Right Key Signature

Just imagine we are going to play the next melody together with a violin, then we will need to change the pitch of our part, in order to play the same notes the violin does. We need to transpose the violin melody to make it possible to play it on our B-flat instrument.
So, take a sheet of music paper, a pencil and an eraser, then we can start.
 
(
Click here to print blank staff paper.)
 
The melody we're going to transpose:
example
 
You will notice the flat between the clef and the time signature.
You can't just copy out the flat for we're going to write in another key, so we also need different flats or sharps than we had in our original music.
The first question we'll have to ask ourself is:
Which key signature do we need?
In the example above we see one flat, this will become one sharp for an B-flat-instrument. So write on your sheet of staff paper a G-clef, one sharp (this is an f-sharp) and the time signature.
This brings us to the next result:
 
example
 
But how can we know which flats or sharps we need to write in between the clef and the time signature?
Therefore you look at the table below.
Search on the left column for the sharps or flats as you find them in the original music, then you will find the key signature you need on the right for your B-flat instrument.
 
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Table of Key Signatures
for B-flat Instruments


 
example empty space example
No sharps or flats in the original music?
Write down two sharps: F-sharp and C-sharp.


 
example empty space example
One flat in the original music?
Write down one sharp: F-sharp.

 

 
example empty space example
Two flats in the original music?
In that case your music doesn't need any sharps or flats.

 

 
example empty space example
Three flats in the original music?
Write down one flat: B-flat

 

 
example empty space example
Four flats in the original music?
Write down two flats: B-flat and E-flat.

 

 
example empty space example
Five flats in the original music?
Write down four flats: B-flat, E-flat, A-flat, D-flat.

 

 
example empty space example
Six flats in the original music?
Schrijf vier mollen: bes, es, as, des.

 

 
example empty space example
Seven flats in the original music?
Write down five flats: B-flat, E-flat, A-flat, D-flat, G-flat.

 

 
example empty space example
One sharp in the original music?
Write down three sharps: F-sharp, C-sharp, G-sharp.

 

 
example empty space example
Two sharps in the original music?
Write down four sharps: F-sharp, C-sharp, G-sharp, D-sharp.

 

 
example empty space example
Three sharps in the original music?
Write down five sharps:
F-sharp, C-sharp, G-sharp, D-sharp, A-sharp.

 

 
example empty space example
Four sharps in the original music?
Write down six sharps:
F-sharp, C-sharp, G-sharp, D-sharp, A-sharp, E-sharp.

 

 
example empty space example
Five sharps in the original music?
Write down seven sharps:
F-sharp, C-sharp, G-sharp, D-sharp, A-sharp, E-sharp, B-sharp.

 
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Feel free to use the table above as often you want, but the next rule could be helpful too:
 
Original music 0 accidentals - B-flat-instrument 2 sharps
Original music 1 flat - B-flat-instrument 1 sharp
 
In all other occasions the B-flat-instrument always gets 2 flats LESS, and 2 sharps MORE than the original music in C.
(You can check this with the table above.)
 
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Step 2 - Copy down the notes in the right pitch.

Take a look at your paper, what do we have?
Just the clef, the key signature and the time signature.
So now it's time for the second step: we're going to fill in the notes.
If a B-flat instrument plays a C, we don't REALLY hear a C, but a B-flat, as you could read above, for that was why we call it a B-flat instrument, remember?
 
When we think like that we realise that when we play a C and hear a B-flat, we know our instrument is playing a note (two semi-tones) lower than the written music.
What would happen if we would write one note above the C; a D, could that perhaps sound like a C?
Yes!
So that's what we are going to do.
Write out all the notes of our example melody, but in another pitch: exactly one note (two semi-tones) above the printed music.
A very important thing to remember is:
 
Be careful only to copy the notes!
Never and never the accidentals in between the notes ! ! !

 
Perhaps you think: But this way it doesn't correspond with the original music!
No, that's right, but we will straighten that out later on this page.
First things first: what you do now is to rewrite the music one note higher than the the music on your sheet. The D becomes an E, the E becomes an F-sharp (you don't need to write that sharp, the key-signature-sharp takes care for that), the F becomes a G, and so we go on, move all notes one up:
 
 
example
 
 
example
 
And here you can see how it looks like now.
 
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Step 3 - Fill in the Accidentals

Look at the music above. You will see it immediately: the third measure isn't ready yet. In the original music we see a natural B and a C sharp, how are we going to transpose that in our written music?
Just copy it out? Writing a natural and a sharp too?
No way!
Besides, it wouldn't make sense. just take a look: we can't write a natural in front of a C can we? The C in our music didn't have a sharp or a flat, so what would a natural be able to do? The C we wrote down is natural already!
When we transpose we should forget the words: 'Sharp', 'Flat' and 'Natural'. Let's take a look, to see what they exactly DO with the notes...
 
A sharp RAISES the pitch of the note by a semitone, so from now on we will not talk about 'sharp' anymore, we will call it a 'raise-up-sign'.
A flat LOWERS the pitch of the note by a semitone, so from now on we will not call this 'flat' anymore, but a 'lower-down-sign'.
A natural in front of an F-sharp, LOWERS DOWN the F-sharp to an F, so in this case the natural is a 'lower-down-sign', just like the flat.
But a natural in front of a B-flat RAISES UP the B-flat to a B, in this case the natural is what we call a 'raise-up-sign'.
 
Let's take a look again at our example:
 
example
 
In the third measure you will notice the natural in front of the B-flat.
What does that natural do?
It tells us the B-flat should go back to its natural pitch, the B.
It RAISES UP the pitch, from B-flat to B, so this is a 'raise-up-sign'.
This means we should add a raise-up-sign in our written music too, in front of the C.
What is a raise-up-sign in front of a C?
Right! A sharp!
In front of the C in our printed music, we see a sharp, this again is a raise-up-sign, so the D in the written music should get a raise-up-sign too.
A raise-up-sign for a D is a sharp.
This brings us to the next result:
 
example
 
Now you have finished, the transposed music is ready to play.
You can transpose all your music like this.
 
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What if you dont't want to transpose from C to B-flat,
but the other way around: from B-flat to C?

In the transposing course above you learned to transpose C-music into B-flat-music.
Ofcourse it is possible to transpose it the other way around as wel: from B-flat-music into C-music.
In that case you just do the course the other way around.
 
In the course above you see two kinds of note examples. The black printed music is the C-music. The blue hand written music is the B-flat-music.
When you want it the other way around, consider the blue hand written music as your starting point and change it into the black printed version.
This means that you have to copy down the music one note lower, instead of one note higher, and the table has to be used the other way around too: the blue hand written examples are like the music you already have, change this into the black printed notes.
So: 1 sharp then becomes 1 flat. 4 sharps become 2 sharps. Etc.
 
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Tenor Saxofoon?

We still have one little problem to solve:
We transposed flute or violin music for a B-flat instrument like the B-flat clarinet. But imagine we don't play the clarinet, but the tenor saxophone. This also is a B-flat instrument isn't it?, so what happens when we transpose flute-music the way we learned above?
You will understand the tenor saxophone is a big instrument, which sounds much lower than the flute or the violin does.
So, when you want to play the same music on your tenor saxophone, you should - AFTER having transposed the music like we did above - copy out the music once again: one octave higher, to make the music sound exactly in the same pitch as was meant in the original music.
However, this often will be way to high for the tenor saxophone.
What to do?
Try to play it one octave lower, for the tenor saxophone just isn't meant to play in exactly the same pitch a flute does.
If this doesn't sound well with the other instruments, you better look for different music, which fits better for your instrument.
 
Good luck transposing your music!
 
Margriet Verbeek
 
 


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