This is the key of G because F# is the last sharp in the key signature. Sharpsįor key signatures with sharps, the key signature is the note name half step above the last sharp. It is not the key of D because there is a D flat in the key. This is the key of D flat because D flat is the second to last flat in the key signature. This is the key of E flat because E flat is the second to last flat in the key signature. So C-flat is the correct note name to use.Here is a list of all of the different key signatures:įor key signatures with flats, the key signature is the second to last flat. Since the rule is that each individual note of a scale must have its own letter name, having the Gb major scale move from Bb to B would violate that rule. If we called the semitone above Bb a B, that would be a chromatic semitone, which would be incorrect. The note C-flat occurs because it is a diatonic semitone above Bb. The note C-flat occurs in several scales the major scale of G-flat major, for example: Using chromatic semitones would result in the possibility of two notes having the same letter name. We use diatonic semitones when we create scales, because each individual note of a scale must have its own letter name. When we see “semitone”, we mean diatonic semitone. Tone – Tone – Semitone – Tone – Tone – Tone – Semitone Notes are usually named with reference to a key and scale. We know that to create a major scale, we start on a given note, and then ascend according to this pattern: The question is, why not just decide on one way to name a note, and leave it at that?Īnd especially, if a C-flat (i.e., the note one semitone below aC) is a B, why do we have the note C-flat at all? Every note in an octave has several ways they can be named. When two notes sound like each other (like F# and Gb, for example), they are called enharmonic equivalents. The concepts in this blog post refer to Lessons 8 and 9 of the “Easy Music Theory with Gary Ewer” Course.
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