That's tricky. It depends on what the other notes (either around or in combination) are; it's a context thing. In other words, it would depend on the harmony and how the note was being used. For example:
Lets say the root of the I chord (here, an E Major triad) was going up in a chromatic line to the notes E#, G# and B, to make a #I diminished triad (E#°) that wants to resolve up to the IIm chord (the F# minor triad) - then the root of that second chord would be an E# - because it is acting like a raised tonic degree [ in solfege the "do" is raised to a "di" ].
However, if the notes F, A and C are used (an F major triad) then we here this as a bII chord (a flat two chord - a type of seconady dominant) which will want to resolve downward to the I chord (the E major triad). Here, we hear the note as a lowered second degree [ in solfege the "re" is lowered to "ra" ]. Again, it depends on context and where that chord (or even just the single note) resolves to to understand what to technically call it.
Having said all that, there could be a flat II diminished chord (in theory) and most people are okay with the enharmonic ambiguity because F is an easier note to conceptualize (for many people) than the note E#. But it usually comes down to the context of usage of the note in question; in other words - it could be either depending on how it's being used.
it depends on what key its in. Theres not specific sharps for the bass cleff, it changes according to the key just like treble. If your in the key of c, then theres none. If your in the key of G, then theres one sharp (Fsharp)... etc etc.
B# and Cb are used in music, just not very much. Most keys do not use either notes, but some do, and they can be used as accidentals. In this way they are similar to double-sharps and double-flats.
Bbb Eb Ab Db Gb Cb Fb. Far from being strictly theoretical, the key F flat major becomes important when a composition in Cb major modulates to the Subdominant, the second most common modulation. The key-change may be indicated either through accidentals (double-flats placed beside notes), or through a change of key signature. While some composers might write a sonata in the key of Cb major, they might wish their second movement to be in the Subdominant key. They have the option of notating with a key signature of 8 flats (which shows the relation to the first movement), or using it's enharmonic equivalent, E major (key signature: 4 sharps), to simplify reading.
Normally, nothing... or (I guess) the note that came before that one. You write the accidental first and then the note, so nothing concerned with a note comes before its' accidental.
The key signature of G sharp major is 8 sharps. The eighth sharp changes F# to F double-sharp (F## or Fx). This is a useful key, being the Dominant of both C# major and C# minor. If a composer were to write a Sonata in C# minor, but wished his second movement to be in the Dominant Key, he might use G# major, with 8 sharps, in order to express the relation of the first and second movements. Or he might choose to notate his second movement in A flat major, to simplify reading. Here are notes of the G# major scale: G# A# B# C# D# E# F## B# The scale of G# major may occur within any composition, but especially those composed in C# major or C# minor, since modulation to the Dominant is the most common modulation. However, the key change is usually indicated by the use of accidentals rather than a change of key signature. A practical application of the Key of G sharp minor can be found in early editions of the Beethoven Piano Sonatas. However, most modern editors change the key signature to A flat major, to simplify reading.
Instead of writing a sharp in the key signature, write one next to the F when you write out the scale.
An E natural minor scale is written with a one-sharp key signature, so you just write out the scale in semibreves and add an additional D sharp for the harmonic minor, and two additional sharps to the sixth and seventh degrees when ascending in the melodic minor (C sharp and D sharp). You lower the sharps and revert back to the natural minor when you descend through the scale.
No, you'll have to write the accidental for the A natural.
C major (no sharps or flats)Sharp Keys:G Major/E minor (1 sharp)D Major/B minor (2 sharps)A Major/F-sharp minor (3 sharps)E Major/C-sharp minor (4 sharps)B Major/G-sharp minor (5 sharps)F-sharp Major/D-sharp minor (6 sharps)C-sharp Major/A-sharp minor (7 sharps)Flat Keys:F Major/D minor (1 flat)B-flat Major/G minor (2 flats)E-flat Major/C minor (3 flats)A-flat Major/F minor (4 flats)D-flat Major/B-flat minor (5 flats)G-flat Major/E-flat minor (6 flats)C-flat Major/A-flat minor (7 flats)These are all the possible keys you can write in, enharmonic keys are italicised.
There are a total of fifteen keys in Western music. Keys come with two forms, sharp keys and flat keys and one comes with all naturals. The complete list of major keys are shown below: C major (or A minor) - no sharps/flats G major (E minor) - 1 sharp D major (B minor) - 2 sharps A major (F-sharp minor) - 3 sharps E major (C-sharp minor) - 4 sharps B major (G-sharp minor) - 5 sharps F-sharp major (D-sharp minor) - 6 sharps C-sharp major (A-sharp minor) - 7 sharps F major (D minor) - 1 flat B-flat major (G minor) - 2 flats E-flat major (C minor) - 3 flats A-flat major (F minor) - 4 flats D-flat major (B-flat minor) - 5 flats G-flat major (E-flat minor) - 6 flats C-flat major (A-flat minor) -7 flats There you go, those are all the different keys you can write in!
it depends on what key its in. Theres not specific sharps for the bass cleff, it changes according to the key just like treble. If your in the key of c, then theres none. If your in the key of G, then theres one sharp (Fsharp)... etc etc.
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It can be used to write boldly, or such.
B# and Cb are used in music, just not very much. Most keys do not use either notes, but some do, and they can be used as accidentals. In this way they are similar to double-sharps and double-flats.
Bbb Eb Ab Db Gb Cb Fb. Far from being strictly theoretical, the key F flat major becomes important when a composition in Cb major modulates to the Subdominant, the second most common modulation. The key-change may be indicated either through accidentals (double-flats placed beside notes), or through a change of key signature. While some composers might write a sonata in the key of Cb major, they might wish their second movement to be in the Subdominant key. They have the option of notating with a key signature of 8 flats (which shows the relation to the first movement), or using it's enharmonic equivalent, E major (key signature: 4 sharps), to simplify reading.