The figures show the normal mode on the left and the transposition mode on the right. You can change the values of each field as you like either with the arrow keys or by direct input. As soon as you finish this with “Enter” all other fields will be updated

examples and instructions

Example 1: You want to know the frequency and wavelength of an f4 . The calculator shows 349,2 Hz and a wavelength of 98.3 cm. This is corresponding to the reference frequency a4= 440 Hz and a room temperature of 20° Celsius.
However, you change the a4 to the common tuning pitch of 443 Hz in Vienna (left figure). The field next to the frequency therefore shows that this note is now 12 cents too flat. However, this tone for the changed a4 is then perfectly correct if you increase the room temperature from 20° C to 24° C (first check the checkbox “fixed length” and then increase the temperature).

Example 2: I want to know to which tone a frequency of 1255 Hz corresponds. The calculator shows an Eb3 too sharp by 15 cents at a1=440 Hz and 20° room temperature.

Transposing has historical reasons and means that one may not play the written notes, but for example the whole has to be played 3 ½ notes, or maybe even 7 notes higher (or lower). Behind the ability to transpose is an enormous mental performance, which must be performed permanently within fractions of a second for the duration of a piece. In the orchestra it affects mainly the horn players, sometimes also the trombonists and slightly the trumpeters (only 1 1tone higher or lower).
The musical computer can transpose to all keys up “alto” and down “basso” – a total of 22 types of transposition.

Example: You want to know which tone with which frequency actually sounds if you play a c5 on an F-horn. Result: a f4 with 349.2 Hz (right figure).

Note: Transposing often creates confusion because historical scores and orchestral parts often only say “in B-flat” or “in A-flat” and thus it is sometimes unclear whether “alto” or “basso” – i.e. transposing up or down – is meant. Even renowned conductors sometimes fail with tricky transposition questions. By Anton Bruckner, Richard Wagner and especially Richard Strauss, the transposing abilities of musicians were extremely challenged.