In part 1 of this article, we provided a complete version of the 12-tone fingering chart with associated mechanism to transpose to any key written in jianpu. However, I noticed that a lot of people are unfamiliar with this natural transposition concept of jianpu, and so I have created a part 2 here.
This article foreshadows the article on staff notation and dizi. What I have done is to take the basic version of the 12-tone fingering chart and generate printable notes on staves with associated the associated fingering patterns through the use of automatic transposition.
Some points of note:
- Pitches represented are broken into 3 instrument octaves, with the last one further separated into normal range, and exceed range.
- Pitches always advance in semitones from first to last measure.
- Pitches' accidentals are not always consistent, but since we are assuming 12-tone equal temperament, their enharmonic forms are assumed.
- Pay close attention to the type of clefs used and read the staff notation and dizi series of articles for more details.
Without any more delay, here are the charts in PDF form:
- B♭ 梆笛: Small B♭ key dizi (bangdi).
- A 梆笛: Small A key dizi (bangdi).
- G 梆笛: Small G key dizi (bangdi).
- F 梆笛: Small F key dizi (bangdi).
- E 笛子: E key dizi (can be considered bangdi or qudi).
- D 曲笛: D key dizi (qudi).
- D 曲笛: D key dizi (qudi), but with normal treble clef.
- C 曲笛: C key dizi (qudi).
- C 曲笛: C key dizi (qudi), but with normal treble clef.
- B♭ 曲笛: B♭ key dizi (qudi), but with normal treble clef.
I would consider these charts to be supplementary than primary compared to those that are found in part 1 of this article.