Translating as Drawing a Mountain Ridge

Translation is like drawing, or painting, a mountain ridge. The contours won’t match up perfectly, try as the artist might to reproduce the intricate ups and downs with exactitude. In the end, you’ll be left with your interpretation, having flattened out some bits, having elevated others. But as you approach the mountain, the contours fade and you find yourself face to face with an overwhelming mountain.

The role of a translation consultant is to help translators match up the contours and to avoid flattening out the mountain. Some contours will be possible, others not. But the mountain will remain.

Pitch Class, Tonal Counterparts, and Camelot Key Equivalents

The tables below show the tonal and Camelot key (alphanumeric) counterparts to pitch classes for major and minor keys.

Major key

Pitch classTonal counterpartsCamelot Key
0C (also B♯)8B
1C♯, D♭3B
2D10B
3D♯, E♭5B
4E12B
5F7B
6F♯, G♭2B
7G9B
8G♯, A♭4B
9A11B
10A♯, B♭6B
11B1B
Major key: pitch class, tonal counterparts, and Camelot key equivalents

Minor key

Pitch classTonal counterpartsCamelot Key
0Cm5A
1D♭m12A
2Dm7A
3E♭m2A
4Em9A
5Fm4A
6G♭m11A
7Gm6A
8A♭m1A
9Am8A
10B♭m3A
11Bm10A
Minor key: pitch class, tonal counterparts, and Camelot key equivalents

Spotify API

In the Spotify API, ‘key’ maps to pitch class and ‘mode’ distinguishes between major (1) and minor (0) key, which can be represented as a Python dictionary thusly:

		(0,1):'8B',
		(1,1):'3B',
		(2,1):'10B',
		(3,1):'5B',
		(4,1):'12B',
		(5,1):'7B',
		(6,1):'2B',
		(7,1):'9B',
		(8,1):'4B',
		(9,1):'11B',
		(10,1):'6B',
		(11,1):'1B',
		(0,0):'5A',
		(1,0):'12A',
		(2,0):'7A',
		(3,0):'2A',
		(4,0):'9A',
		(5,0):'4A',
		(6,0):'11A',
		(7,0):'6A',
		(8,0):'1A',
		(9,0):'8A',
		(10,0):'3A',
		(11,0):'10A',

Python Dictionary

Here’s a Python dictionary that can be used in a function to convert Camelot key values (“8B”) to their tonal counterparts (“C, B♯”).

camelot_to_tone = {'8B':'C, B♯','3B':'C♯, D♭','10B':'D','5B':'D♯, E♭','12B':'E','7B':'F','2B':'F♯, G♭','9B':'G','4B':'G♯, A♭','11B':'A','6B':'A♯, B♭','1B':'B','5A':'Cm','12A':'D♭m','7A':'Dm','2A':'E♭m','9A':'Em','4A':'Fm','11A':'G♭m','6A':'Gm','1A':'A♭m','8A':'Am','3':'B♭m','10A':'Bm'}

Special thanks to:

https://pixabay.com/photos/struggle-efforts-plant-stones-road-3669669/

Across the Whole

Over the weekend I took in the latest episode of the OnScript podcast, a podcast dedicated to presenting “conversations on current biblical scholarship.” Featured in this episode is British Eastern Orthodox priest and theologian John Behr who has translated several works by Early Church Fathers such as Origen and Irenaeus. I appreciated his comments on translation around the 30:00 minute mark:

I’ve come to love ever more the work of translation. When you read a text, you read it, you kind of follow the argument, you might make notes, you write down quotations…but when you translate a text, you’ve got to pay attention to how every word is used across the whole of text in a way that you would never think about it when you’re just reading a text in translation… You’ve got to know how each word is used across the whole of the work to know how to be able to translate it, so your knowledge of the work becomes incredibly deeper in doing that. You really get in to thinking the way the author thinks.

I’ve found something similar to be true in my work as a translation consultant. It’s one thing to read the Bible, it’s quite another to translate the Bible. The process of translation takes the translator deeper into the thought of the author than the process of reading takes the reader. Translation forces you to wrestle with a text whereas reading let’s you keep moving forward at your own pace. Additionally, with translation you have to hold the whole of the text in your mind, remembering how a word or phrase was translated paragraphs or chapters ago, or in the case of Bible translation, books ago.