Composer Margriet VerbeekWas 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)
Homepage Transposing Course Empty Staff Paper
for 2 recorders (flutes),
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.
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.'
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 150 Souterliedekens (psalms) for choir.
In November 2011 I leaded the GeNeCo Centennial Concert in Schiedam. GeNeCo is the Dutch Composers Association.
The 15h of May 2010 Eddy van der Maarel and I presented our new CD during a concert in the pretty church at Wilhelminaoord.
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.
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 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).
My composition Fleur for solo guitar, won the first price at the Eight International Competition for Composers in Corfu-Greece (2005).
Did you know that I also wrote Young Adult/Fantasy series?
(The Comfort Lily)
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 third part of The Comfort Lily is called
The Sleeping Bears.
Scroll down this page
to find compositions for:
Learn to Transpose, Step by Step
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 weird ! ! !
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 F-horn-player sees the note C and plays it, you actually don't hear a real C, but an F.
The pitch of the note sounds four notes lower than notated.
As long as the hornist plays alone, or together with other F-instruments, it doesn't matter, but when a hornist 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.
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.
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 F on the piano?
Then you have an F-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:
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)
How to transpose for F-Instruments
Step 1 - Write the right Key Signature
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:
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 means we don't need any sharps or flats for our F-instrument. So write on your sheet of staff paper a G-clef, and the time signature.
This brings us to the next result:
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 F instrument.
Table of Key Signatures