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Scales and Key Signatures
This category is about major, minor and other musical scales, and keys and key signatures in musical notation. All questions should relate to forms and construction of scales, and key signatures within these forms.
2,369 Questions
What are the letter names of the pair of notes which are a semitone apart in the major scale of F?
F major is
F - G - A - B flat - C - D - E
the A and B flat are a semitone apart. (3rd and 4th)
the E and F are a semitone apart (7th and 8th (1st))
It is the same in all major scales (3-4 and 7-8 are always a semitone apart)
In the key of E Major is it better to write an E Sharp or an F Natural?
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.
Who wrote the song If I Only Had Time?
Pierre Delanoe, a French songwriter/lyricist, was the writer of "Je n'aurai pas le temps" also known as "If I Only Had Tme." The source for this information is the Wiki article on songwriter Pierre Delanoe which indicates the song was written for Michel Fugain. No date of publication is given. This seems to be confirmed by the BMI database when searching for Pierre Delanoe. The song dates from at least 1962 because it was released in English by early Rock and Roll star Gene Pitney as can be verified on YouTube video http://www.youtube.com/watch?v=ZTZXjuseX_8 Both John Rowles and Vox Angeli have lovely covers of this song.
Where can I find a harmonic analysis of Prelude No 20 in C minor Op28 by Chopin?
Prelude No.20 in C minor Op.28 by Chopin - Harmonic Analysis
Bar 1
· Key-defining progression of i-iv-V-i
· Tonic chords are pure
· Subdominant and dominant are 7ths
· The Eb transfers from I to IV and continues into the start of V as an augmented triad / as a kind of suspension also
· Momentary augmented triad on the third beat of the first bar
· The F as part of the chord V7 continues a dissonant sound
Bar 2
The Neapolitan chord here is heard as chord IV of VI
· Melody is sequenced on the submediant (6th) level
· Harmony moves away from C and into Ab major. The whole bar could be thought of as I-IV-V7-I in Ab major
· Bar 2, chord 3 is Eb7
· C in chord 3 is a passing tone
· Db in the second bar is considered a normal passing tone if under the Ab major tonality
Bar 3
· Focus is in C minor again
· Bar 3, chord 1 is G7
· Second chord is not c but C7 or V7/iv
· Bar 3, chord 3 has an appoggiatura
Bar 4
· Drive is toward chord V, a half cadence that ends the entire 4-bar span
Bar 5
· The melody is on top and the harmonies are subtle unless bringing out a dissonance
· This line starts by quoting the opening motive, as if the true melodic line has been shifted to this position
· Bar 5, chord I is i minor
· Bar 5, chord 2 is VI
· Beat 3 presents two sonorities which distort the G chord rather than functioning as triads
· Beat 3 aims at V with the Ab as a suspended note, and then a balancing lower half step is sounded through F#
· Beat 4 has the arrival of G but with v in its minor form (passing chord)
Bar 6
· Bar 6, beat 2 is a very colourful French 6th on Ab
· Bar 6, beat 3 where the goal for the bass motion is V and lingers here onto beat 4
· Bar 6, beat 4 is V7
Bar 7
· The opening progression is very subtly included here
Bar 8
The Neapolitan chord here is heard clearly as N (root position)
· Beat 1, chord 1 is VI is used to precede the Neapolitan chord
· The Ab and Db chords quote bar 2
· Beats 3 and 4 create a N-V7-i cadence
· D natural is used in place of Db. The end of the piece puts a D natural in place of Db for a proper arrival back to C minor
Bars 9 -12
· This is an echo phrase with the same material
Bar 13
· Punctuating final chord is a simple coda
Yes you can by getting a bachelor's in Science with a concentration in Anatomy and Physiology.
What does the key of g major look like on sheet music?
G major has only 1 sharp - an F♯, the "♯" symbol is placed on the F line on the top of the staff on the treble clef and comes before the time signature.
On the bass clef the ♯ symbol is placed on the second line from the top.
Hope that makes sense.
The only way to measure your creative ability is to develop it by exploration. There is no way of knowing how far it can span. Test yourself by going shopping for supplies. What can you put together? If on a budget, how inexpensive can you create something that will be unbelievable? What can you make out of old cans, car parts, kitchen utensils, etc.? How many genres of art can you cross over into? Could you amuse or entertain yourself with absolutely nothing other than your imagination? Can you make up poems or songs off the top of your head? Can you meet unexpected deadlines? Are you spontaneous? Are you open minded with a bendable brain? Discovering the depth of your creative abilty means being willing to study your own perceptions on everything. Creativity and skill come together to work as one if you throughly study the dynamics of art while leaving more than enough room for playful creatvity. And of course skill can develop itself through constant creativity. Here are more opinions and answers from other FAQ Farmers: * An IQ test..? * With reference to the above answer, I don't think an IQ test will reveal anything about creativity. In general, I associate IQ tests with analytical abilities, which is something very different. I agree that one has to explore and experiment. I'd attach less importance to being spontaneous, as there are some kinds of elaborated and highly time-consuming forms of creativity. As for the financial dimension, one must (usually) be prepared to spend some money on one's explorations, but it needn't be that much initially. For example, if you think you have potential as a photographer, you will need to buy a good camera. (This needn't be expensive; you can get an excellent secondhand camera on ebay, for example). There are tests that try to measure creativity... although I completely agree that it is best to do some exploring. But if you really want a formal test, here is a site that might lead you to a good test, depending on what kind of creativity you are trying to measure. :) http://www.indiana.edu/~bobweb/Handout/cretv_6.html
When there are sgwiggly lines next to a chord do you go up or down the notes?
You go up the notes playing each one individually but holding them all down until the time it needs to take is over
What is the tone of the clod and the pebble?
The first half seems optimistic and the second half seems more negative. These tones together help to create the paradox of the poem.
Which degrees of the major scale can you have minor chords?
Normally, the 2nd, 3rd, and 6th are minor.
For example, in the key of C, that would be Dm, Em, and Am.
BONUS: a lot of times a song will end with a 4 chord, then a minor 4 chord before the 1. In the key of C, that would be an F, Fm, then C. Try it - it's pretty cool.
What is the solfege for a b flat in a d major scale?
The solfedge in a D major scale goes like this:
Do (D) Re (E) Mi (F#) Fa (G) So (A) La (B) Ti (C#) Do (D)
For accidentals, any added sharp would change the vowel to an "i" and any added flat would change it to an "e" (except for Re, which would become Ra).
Because B is La, Bb would be Le
Hope this helps!! =)
How do you develop the d flat major scale?
The same way you develop any major scale.
W = Whole Step
H = Half Step
S= Start/End Degree
S - W - W - H - W - W - W - H(S)
so the Db Major scale would be:
Db - Eb - F - Gb - Ab - Bb - C - D
How many notes are contained in one octave?
For the diatonic scales, there are 7 different notes, but 8 if you count the upper octave, whatever it happens to be. This is independent of the color of the keys, since the major scale can start on any of the 12 distinct notes/keys on the keyboard.
C D E F G A B C
1 2 3 4 5 6 7
There are (as noted in the discussion) 12 distinct notes in a chromatic octave of the standard western scale, 13 if you count the lower and upper octave notes. This arrangement represents a compromise arrived at over centuries, and need for the compromise stems basically from the fact that when using a circle of fourths and fifths to tune notes, it is physically impossible to tune every note as a perfect interval. Several different tuning systems have been developed over the years, but western musics have generally settled on the equal
temperament made popular by Bach.
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New Answer By 7D8f Octavian:
If you arranged the TEN NATURAL fingers in two rows they would look thus:
______L Index_____L Ring_____R Little____R Middle
L Thumb____L Middle____L Little____R Ring_____R Index_____R Thumb
Left little finger is in the LOWER row
Right little finger is in the UPPER row
If you call the little finger as DEVIL there are TWO DEVILS !
You call the lower row fingers as "NATURALS"
and the UPPER ROW fingers as "ACCIDENTALS"!
WONDERFUL, MOST 'SCIENTIFIC', "OCCIDENTALS" YOU ARE !!!
If you arranged the FOURTEEN NATURAL notes in two rows they would be :
____d_____e_____f_____g_____a_____b
C1____D_____E_____F_____G_____A_____B_____C2
If you call the seventh note as DEVIL, there are TWO DEVILS
For, the seventh note leftwards from the right C2 is g ( diminished fifth)
{C1____D____E____F } is the DIATONIC (WHITE) TRITONE 45/32
Conversely
{ C2____b____a____g }is the CHROMATIC (BLACK) TRITONE 64/45
2 divided by 64/45 is 45/32 and 2 divided by 45/32 is 64/45
If you call 45/32 as devil 64/45 is EQUALLY DEVIL, too !
In Indian music both of them are DIVINES
45/32 is called the KALYANI Madhyama and
64/45 is called the VARALI Madhyama
The Indians learnt from your KEYBOARD (HARMONIUM)
But you have maimed and mangled your keyboard and
your Christian music and now are learning from the Indian "Karnatic" musicians
who are the products of
TAMIL ONAMATOPOEIC MONOSYLLABLES ( Sa-Ri-Ga-Ma-Pa-Dha-Ni)
and the western twelve note keyboard and fretboard
but will store their every new knowledge in the "Bharata's Natya Sastra"
and throw it back in time as many millenniums as possible
P.S. Please visit "divinity-musicalkeyboard.blogspot.com' and
VDDdayalan's channel in You Tube
How do you construct a D mixolydian scale?
The Mixolydian Mode is a structure built on the fifth degree of the major scale (originally called the Ionian Mode). The formula to the Mixolydian mode is to add one flat or subtract one sharp from the key.
As a straight comparison to the Major Scale you lower the seventh degree (in solfege, the "ti" note is lowered to a "to").
Major:
D E F# G A B C# D
Mixolydian:
D E F# G A B C D
the HMS Beagle
How you would improvise an accompaniment in the key of A minor using the information provided?
It completely depends on what information is provided. If you have a melody, you can harmonise most lines using quite basic four part harmony. If so, you could also use inversions, most commonly being 1st inversion chords.
If you have chords for comping, then just comp to the complexity that you can manage. I suppose it depends on what kind of music it is. If it is jazz, you could add 7ths, 9ths etc. and even throw in some tritone substitution.
Ultimately, more information is needed to accurately help you. Regardless, for improvising accompaniments you should have a knowledge of harmony, be it jazz or standard classical harmony.
What scale can you use with a F7 chord?
There are several types of seventh chords, but the most common type of chord is the Dominant 7th(or V7)chord. A Dominant 7th chord is the strongest way to approach the Tonic (I) chord.
The Dominant 7th chord with a root of F is diatonic (naturally occurring) to the Bb major scale to reach the Bb major (I) chord. It is also used in the Bb minor scale to reach the Bb minor (i) chord.
The F7 chord is also (less commonly) used in the key of Eb major to reach the Bb major (V) chord. The Bb7 is then used to reach the Ebmajor(I) chord.
Is note C higher than F and D?
Yes and no; a C note is lower than F and D if you are just looking at seven notes, for example:
A B C D E F G
Looking at this, we know C is lower than D and F. But we also know that the musical notes are looped, for example:
A B C D E F G A B C D E F G
So C can be higher than F and D depending on how you look at it.
Would a scale beginning cde be the start of a major or minor scale?
C, D, and E are the first three notes of the C major scale.
