Accidentals go in front of the notes.
The white notes E -> F and B -> C are a semitone apart. They do not require accidentals when present in any key in which those particular notes are not altered in the key signature, but do require accidentals if the corresponding notes in the key signature automatically raise or lower them by a semitone accordingly.
the Dorian mode scale has semitones between the 2-3 notes and the 6-7 notes the mixolydian mode scale, on the otherhand, has semitones between the 3-4 notes and the 6-7 notes. the Dorian mode can be written on D, with no accidentals the Mixolydian mode can be written on G, with no accidentals. they can be recognized in a song or piece based on the key signature and accidentals invovled.
It means they belong to that scale, and when the key of a song is "C", these are the notes to use. If their are any accidentals next to a note though, remember to raise or lower the note accordingly.
Yes, unless the notes are held by a tie across the bar line. In that case the whole tied note uses that accidental.
Yes. An accidental always carries through the entire measure, even when used on a grace note.
UGA Accidentals was created in 1974.
There is not three notes in any scale or key, if you are asking about the accidentals, there is one flat (Bb) in the key signature plus an additional C sharp for the harmonic minor scale.
Same as you go up. Just play all the notes, including the accidentals. Until you get to B flat, where you stop.
A natural sign cancels all applicable accidentals in that bar as well as accidentals in the key signature. However, in the case of the key signature accidentals, the natural sign is only applicable to that bar.
An accidental is an added flat, sharp or natural to the key signature used in a piece of music. They are used when a composer slightly changes keys. Accidentals also occur when embelishing / ornamenting the melody. Basically, accidentals are for what ever notes the composer wants to use besides those in his main key - hence the key signature, which indicates which notes are always sharped or flatted, giving the composer a choice of how high or low she/he wants the song to be.
melodies are built over chords by taking a scale that goes with a particular chord progession and then arranging the notes into different rythmic phrases Actually, melodies are built by taking certain notes and basically doing what is described above, but there is a thing called "accidentals"...
I believe that the pedal is there for accidentals (sharps and flats). I believe that the strings on a harp are just the "regular" notes, like the white keys on a piano, and if you want sharps or flats you've got to pedal to get it.