New answers tagged

1

TL;DR: It's just better to write since F♯-minor has a lot less signs to write than G♭-minor. The original tonality you listed was G♭-major; it has six ♭s. "Converting" major tonality to same-named minor one requires to flatten it triply: add three ♭, or remove three ♯s. (Of course, you should use circle of fifths; this is a ...


2

G-flat minor is, as you note, a terribly awkward key, since its relative major is B-double-flat. That is, the third scale degree is enharmonically equivalent to A, but it's actually B-double-flat. That has nine flats in its key signature (or, actually, five flats and two double flats). F-sharp minor has the rather more normal relative major of A major, ...


0

It's actually simple. So it's like that If it has a F# on the first note, and if the second F doesn't have the accidental called "Natural", then you will have to play the same F with the #. If it has the accidental in the second F like showed up there, you will have to play the normal note of the F, not F#. But if there is a tie from the first F# to the ...


1

The discussion is still alive after several hundred years. There were times, were there was a sort of agreement, that a death scene has to be in this key and erotic scenes in that one and victory in another. The chromatic argument is thin - for once orchestras as a whole and many instruments allow finer modifications of pitch. On the other hand the ...


0

First of all, a question like this can be easily answered with a simple google search. If you search for A-Major scale on line, one of the results will be: Basic Music Theory dot com A Major Scale The following two images from that site show the entire A-Major Scale. The first shows the notes on the piano keyboard and the second shows the notes on the ...


0

Scale degree seven in A major is G sharp.


0

The D#/Eb note is used in much the same way a flat fifth/sharp fourth is used in blues or jazz. Simple passing tone that builds tension. Somewhat dissonant so as to make the resolve to the so called "right" notes sound better. Blues and jazz musicians regularly disregard the technical concept of the right notes and use the wrong ones to make the right sound ...


0

The angled lines are variant accidentals, indicating "one quarter tone sharp." The notation in question is a variant key signature, not a time signature. (Disregarding the sometimes conflicting information in your second photograph), the key signature is "C double-sharp, B one quarter tone sharp, G one quarter tone sharp." The several possibilities for ...


2

The other upvoted answers here are good and I don't want to repeat them, but I think that there is a lot to add. Surely the key of C-Sharp Major must exist! So why is it never or rarely used? There are several factors that need to be taken into consideration. Here I list a few: Historical To understand modern scales you need to look at how they ...


-1

Shorter answer: Every note in a scale must be named A, B, C... etc. in ascending order but with as many accidentals like sharp and flat as necessary. Therefore, the note before C# (major 7th) is B sharp (the same as C natural), and E# (same as F natural) is the third which is annoying to work with.


0

I'm tempted to suggest that this practice actually far predates the creation of keys. I believe Renaissance and Medieval church pieces were often categorized by which of the 8 Church Modes they were written in. This would tell a church musician a lot about the mood, or ethos, of the piece, and aid the singers in knowing what scale to use. Speculating... it ...


2

Musicians form much closer relationships with keys than with arbitrary numbers. I might not remember which Brandenburg Concerto is which by the numbers, but listing the key really clues me in. This is especially true for composers who wrote a ton of a single type of piece, for example Mozart's piano sonatas or Haydn's symphonies.


0

Music can and often is transposed to other keys. Sometimes this is done for vocalists who want to be able to sing a song within their range. In classical music it may be a case of the instrumentation in the ensemble that will be performing the piece. Some instruments are easier to play in one key than in another. Regardless of the reason for transposing ...


17

C sharp major has seven sharps, D flat major has five flats. Out of the box, the latter is preferable. The former may be more appropriate when there is more material requiring "flattening" the key signature than otherwise. Now major is a rather sharp mode, so it's not quite unlikely. For example, a "proper" fully diminuished chord in C sharp features ...


10

Yes indeed there is a key of C Sharp Major (C# Major). But the key of C Sharp Major is the “enharmonic equivalent” of the key of D Flat Major. What that means is that all of the notes in the C sharp major scale sound pretty much exactly the same (to the human ear) as all the notes in the D Flat major scale – only they are notated (written) differently. ...


0

You change the key to the interval you want to transpose. With this new key you can just change the notes the amount of spaces up or down and they will all be the same interval. What do I mean by this? Let me further elaborate trough the use of an example. Lets say you want to transpose a passage that is in C major a Major third up. You use the key that is ...


2

Following on from Rockin's excellent answer, it's apparent that KNOWING your keys and their respective signatures ('sharps and flats') is going to make the process much quicker to execute. On guitar, when using tunes that don't use open strings, the process won't use quite so much brain power. Just as a capo can help change key, you can do the same sort of ...


5

Once a melody is composed and written in one key using the notes from said key's corresponding scale, that same melody can then be "transposed" (converted) to any other key that exist in Western music. The process of composing any piece of music follows a strict methodology. Below I will explain the process of transposing any piece of music from one key ...



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