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I realize I should know this -- okay I've reached the bottom and I'm ashamed. But I have to ask or if I spend another sleepless night at this then BiaB is going packing! I need my sleep more than I need to toot a horn. But, the wife says I will toot -- then I must toot! Thus, I come to you ...
Okay, many years ago I played trumpet. Over the past several years I've dabbled with guitar. Well, the wife went and messed up my perfectly dull life and bought me both for Christmas. I now have a beautiful new trumpet and guitar starring at me at this very moment BEGGING me to play them.
Here's the deal ... I want to play both. I have purchased a few play-along jazz books for my Trumpet. I have purchased a few play-along books for my Guitar. I want to use BiaB to practice, play along, and when I get much better (perhaps when he** freezes over), then I think I might enjoy hearing myself play along with these backing tracks that I've bought. And yes, I'll probably lie and tell the grand-kids that I used to play the "strip".
Finally! Here's the question (and yes, I've read the posts about transposing at all hours of the night -- and day): Other than telling me that this software has 99 different ways I can approach this, can you tell me how I COULD best deal with the transposing issue. Note: The Trumpet play-along's are written for Bf Trumpet.
Thank you ... I'll check for answers here when the sun comes up! If things don't go right, I'll MAKE that guitar sound the same as a trumpet!
Ike
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Hi, Russell - Of course, I'm having this image of how you're going to play both instruments at the same time...  Guitar and B-flat trumpet are one full step (two half-steps) apart. Guitar (and just FYI, piano) is keyed to "C", and of course your trumpet to "B-flat". So (and this is what confuses people) when you play a "C" on the trumpet, that's the same as a "B-flat" on the guitar (or piano). Trumpet music is written one full-step higher than guitar or piano music for the pitch to match. So, let's say you're reading your guitar music and want the trumpet sounds to match, then you need to play one note up. The first column below is the note you see on the guitar (or piano) music; the second is what you would play on the trumpet to match what the guitar/piano is playing: C --> D C#/Db --> D#/Eb D --> E D#/Eb --> F E --> F#/Gb F --> G F#/Gb --> G#/Ab G --> A G#/Ab --> A#/Bb A --> B A#/Bb --> C B --> C#/Db Try it - from the chart above, play a C on the guitar (or strum a C chord), then play a D on the trumpet. You'll see they match in pitch. Now, if you are going the other way, where you are reading the notes on the trumpet music and want the guitar to sound the same pitch as the trumpet, then you need to lower everything one full step. The first column below is the note on the trumpet music; the second is what you would play on the guitar (or piano): C --> A#/Bb C#/Db --> B D --> C D#/Eb --> C#/Db E --> D F --> D#/Eb F#/Gb --> E G --> F G#/Ab --> F#/Gb A --> G A#/Bb --> G#/Ab B --> A Try it - from the chart above, play an E on the trumpet and you'll see that you'll need to play a D (or strum a D chord) on the guitar to match it. I hope that helped and didn't just confuse the issue.
John Laptop-HP Omen I7 Win11Pro 32GB 12TB SSD Desktop-ASUS-I7 Win10Pro 32GB 12TB SATA BB2026/UMC204HD&404HD/Casios/Cakewalk/Reaper/Studio One/Notion/Dorico/Noteworthy/NI/Halion/IK http://www.sus4chord.com (under rehosting/construction)
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Good explanation.
Faced with that, ie. the wife on the flute and me on the trumpet with Band in a Box you need to print the music in the actual key (as John said) so if in Band in a Box it's written in C and sounds C you do that. Your options are to print both part, or have one person do the other part from band in a box.
If you find the P for Practice icon, there's a button to transpose the piece for Bb trumpet. Press that and note that the music goes to the key of G if you were in F and the you can play the trumpet along with it. Note that you are shown the piece on the screen in G but that it's still playing in F.
Probably some way to deal with the guitar and a capo but I'm no guitarist, however if you can stick one on and both end up in the same key that's another workaround.
Playing the trumpet and the guitar at the same time must be a hard thing to do.
John Conley
Musica est vita
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Quote:
Playing the trumpet and the guitar at the same time must be a hard thing to do.
You know John, it's funny you should ask ... Yes, it's been a heck of a ride! I'm now wondering if others who play two or more instruments have some of the same episodes as me. My trumpet fingers want to react automatically to the notation I'm viewing at the time and there's been a time or two when I've had to just stop and put the guitar (or the trumpet) away for a few, then come back with my 'other' hat on, and then it seems to fall together more times than not! I don't know why except to suggest that maybe I'm getting into the music (listening to my music) and I'm sometimes not 'consciously aware' of what instrument I'm playing.
On the other hand, I've been thinking that it's interesting (from a brain-mechanics point of view), that there is difficulty in all of this and yet, I'm pressing trumpet buttons with my right-hand and pressing frets with my left, so why SHOULD there be a problem at all!
Here's a scenario: I find myself sometimes WANTING to use my index finger to play a 'B' on the guitar (since that's what I use on the trumpet). I have to actually stop and think (in the middle of playing) until it kicks in, what I'm doing (BTW normally the lower-octave, guitar 'B' is played with an open string -- where I'm not pressing a fret at all -- interestingly enough, even though I've comitted that 'B' to automatic guitar-memory sometimes the 'trumpet memory' crosses over if you're not paying attention and your fingers want to take over! I know, I know ... Weird stuff!
In contemplating this the other night I found that I could trumpet-finger the chromatic scale with my left hand, just as easily as my right! Now where did that come from? And up until now, It's never occurred to me that I even knew how to do this (not that there's any value to it of course)! It has proven to be an interesting set of circumstances to say the least (from a scientific view).
Certainly somebody's had to pick up on this stuff before and I'm sure there's probably books on the stuff. Oh, and I play split-hand piano too -- I don't even want to begin to think where that's going to go!
FYI -- I had a former instructor who in jazz band would come down off the podium and (with any score we knew how to play), bounce from one instrument to the other and never miss a beat -- and he knew how to play every one of those instruments before he was 13 years old! I tell ya' ... during those times it sure made us jazz-wanna-be's think long and hard about whether we should even consider this business to pay for our meat and potatoes -- I know that it made me envision myself starving!
Ike
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Hi Russell. I hope the trumpet note you are playing with your index finger is Bb, not B (natural). Otherwise, your slide has been cut, your hand position is wrong, or that's one funky horn.
There is some use for fingering with the left hand: French horn. I know what you mean about the surprise of finding out you could finger with either hand. I had a broken finger once on my right hand, and played a concert using my left hand to finger. No problem. Got to be a brain thing, because it sure isn't muscle memory in the conventional sense.
Some people who switch instruments have a problem because they have such an ingrained sense of what a certain pitch should sound like, that they can't make the mental adjustment when playing a transposing instrument where the same written note sounds different. My main instruments are pitched in C (trumpet, flute, vibes), Bb (flugelhorn, trumpet, soprano sax), A (piccolo trumpet) and G (alto flute). Got a few others, too. Sometimes it is a bit of a mind-bender when switching. The important thing is you follow what John said and make sure that you know what key the song is in and whether or not any transposition is in effect, because when you load the song in BIAB, there is no obvious way to tell. I make separate folders for songs in different pitches for different instruments. Some people name the song with the key in the name. But find something to keep it straight.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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I switch hands on the horn all the time, but a euph or bari makes that pretty easy. I don'[t have that problem with the keyboard and the horn though, I just have to add in enough bridge to make sure I can get one down and the other going.
Is it a C trumpet? Maybe Matt knows the fingering for a C trumpet, everything is Bflat here.
John Conley
Musica est vita
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It's highly unlikely Russell was given a C trumpet, but that would solve some problems.
As for fingering, it's the same as Bb although many C trumpets have a few notes where alternate fingerings are more in tune. D, Eb and E at the top of the staff are often better with alternate fingering (play it as if the note were down an octave).
The whole principle behind fingering on transposing instruments is that you should be able to learn one fingering, and, by reading the music for the appropriate key, always play that note with (almost) the same fingering. When I play soprano or tenor sax (in Bb), I finger them the same as I do when I play alto or bari (in Eb). Otherwise, it would be a nightmare to switch horns.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Quote:
Probably some way to deal with the guitar and a capo but I'm no guitarist
Re the capo: Check out this rather humorous video from the incomparable Martin Taylor:
Down at Cocomo's
Trust me, it's worth your time.
(Guitarists may appreciate the capo thing more than others.)
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Steel pans on a guitar. Excellent.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Matt, I need to study the alternative fingerings, but we get a weekly lesson in what finger to use when. 3 instead of 1 and 2. 13 cents in some keys, makes it way easier to lip the note.
I'll ask Dr. Hank the keys it works best in and get back to you. But you can't go by the tempered scale. Pythagoras and his theories.
John Conley
Musica est vita
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Most, not all, C trumpets play more in tune with 1 & 3 for D above middle C, then 2 & 3 for Eb, then 1 & 2 for E. Doesn't matter much what key you are in; if the note is flatter than a pancake, it's going to sound bad in any key. For most players, I think lipping up is harder than lipping down.
I never use 3 alone on a C. I use 3 alone a lot on a Bb trumpet or flugel, though, mostly for speed.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Tholse thinking that they might be able to use a C trumpet for playing pop, rock or jazz music and get away with reading the Concert keys on charts should also be informed that the C Trumpet has quite a different tonality than the Bb Trumpet and may not end up sounding all that great at the genre.
--Mac
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I can appreciate that. I have a friend who plays C-trumpet exclusively because he 'swears' by it. Evidently it was given to him after high-school. But, he's been told repeatedly that his horn is too 'bright' and truthfully I think it's cost him a gig or two -- he is a talented player. I'm not sure he can hear the difference -- even my non-musician friends can hear the difference. In fact, I've given him my Bf to try (I haven't played in years) and he himself doesn't hear a difference -- I think he's gone tone dead.
Ike
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Quote:
Guitar and B-flat trumpet are one full step (two half-steps) apart.
I'm not understanding something (par for the course). I know, my theorizing here is just MY simple mind. In my mind, the difference between B and C is one note. Now I add in the fact that B-flat is half a note / tone lower than B-natural and there ya' have it ... a difference of one and one half (1-1/2). What am I thinking here? Why do you say what you say here? Why one full step?
Ike
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Well, two half-steps equals one full step.
If you're having trouble visualizing what a half-step is, think of adjacent keys on the piano (and use the BACK of the keyboard).
From C down to B natural is a half-step.
From B natural down to Bb is a half-step.
Since a Bb horn is pitched one full step lower than concert pitch, the music written for it must be pitched one full step in the other direction (higher) to compensate.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Quote:
I can appreciate that. I have a friend who plays C-trumpet exclusively because he 'swears' by it. Evidently it was given to him after high-school. But, he's been told repeatedly that his horn is too 'bright' and truthfully I think it's cost him a gig or two -- he is a talented player. I'm not sure he can hear the difference -- even my non-musician friends can hear the difference. In fact, I've given him my Bf to try (I haven't played in years) and he himself doesn't hear a difference -- I think he's gone tone dead.
In general, you are correct. A C trumpet usually sounds both 'brighter' and 'lighter' than a Bb, assuming you can find words to quantify such things. However, individual horns make a difference. There exist darker sounding C trumpets and brighter sounding Bb horns. My Calicchio Bb is pretty bright, for example, whereas my Bach Bb is 'average'.
Also, an individual player makes perhaps even more of a difference. I will sound like me playing his horns, and he will sound like him playing my horns, at least once we are used to them.
Finally, the choice of mouthpiece makes a difference. If your friend always sounds too bright, he could explore something like a Curry TF mouthpiece, which makes a trumpet sound closer to a flugelhorn. Or a thousand other choices, each one subtle and each one expensive to experiment with unless you take a listening friend to a shop with a large selection to try. Something as small as a deeper cup on the same rim size could be all he needs. Any good teacher could help, or have him ask about it on TrumpetHerald.com
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Matt, I sure would like for you and Dr. Hank to be in the same room and have a discussion. A guy with his experience, well maybe I`m jaded or something.
He is an ex pat American, both he and his wife. He`s a Phd in horn, is wife is choral, although she is a dean now.
A kinder better teacher you would never see. I get a Master Class every Wednesday most of the year.
When we got into the discussion about mouthpieces his words were..it means nothing.. a good horn player can play with any major mouthpiece and make it sound perfect.
I`ll drag up the video of him making a horn...it`s cool. And post some more stuff with him talking to youtube.
He does travel a lot.
Look up Dr. Henry Meredith on google. He is now up to about 4500 brass instruments in his house.
Some worth 60 to 80k. But at the end of the day, he gave the wife and I an hour course in a parking lot one day. The wife plays most anything but never did a 3 valve instrument..and now he says she could be principal baritone someplace. But that`s 30 plus years of education and she can count even if it`s 22 bars at 2 2 time. Drives me nuts.
John Conley
Musica est vita
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John, I always enjoy your stories about that director. He certainly has amazing abilities, and you and your wife are very fortunate.
I'm sure he would be way over my head. I'm just a self-taught jazz player.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Okay I get it. So then in MY backward way of thinking ... Wouldn't a C-flat (yes I hear the laughter) equal / be the same as a B-natural ?
Ike
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Yes. They are enharmonic equivalents.
Be aware that BIAB does not support Cb, B#, E# or Fb.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
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There are over 100 new features in Band-in-a-Box® 2026 for Mac®.
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With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
2026 Free Bonus PAK & 49-PAK for Band-in-a-Box® 2026 for Mac®!
With your version 2026 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons for FREE! Or upgrade to the 2026 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2026 RealCombos Booster PAK:
-For Pro customers, this includes 27 new RealTracks and 23 new RealStyles.
-For MegaPAK customers, this includes 25 new RealTracks and 23 new RealStyles.
-For UltraPAK customers, this includes 12 new RealStyles.
- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
Looking for more great add-ons, then upgrade to the 2026 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyle.
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
- SynthMaster Sounds & Styles Set 2 (sounds & styles with audio demos)
Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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