Circle of Fifths Quiz - Music Theory
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Date: 2022-03-28
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Comments and reviews: 10
john
Answer to the sixth question: Well in a melodic minor scale, when you go up the scale, the 6th and 7th notes are raised up a half-step, then going down the scale, they-re lowered back to normal. Like in A Minor, the scale would normally go A, B, C, D, E, F, G, A, but in the melodic minor scale, it would go A, B, C, D, E, F#, G#, A, as the scale goes up, but when it goes back down, it goes G-natural, F-natural, E, D, C, B, A. -Natural- means regular, like a white note is not sharped or flatted, like it-s an A; not an A# or an Ab, but A, and that-s A-natural. But again, in melodic minor scales, notes 6 and 7 get raised when you go up the scale, but then on the way down you lower them back to normal. Now in a harmonic minor scale, there-s a little difference: note 7 is still raised, but note 6 remains the way it usually is. And unlike the raised 7th in melodic minor, the harmonic minor scale keeps note #7 raised the whole time for both going up and going down. So the harmonic minor scale of A goes as A, B, C, D, E, F, G#, A. And when you go down, it goes G#, F, E, D, C, B, A, and G stays as sharp; it doesn-t go back to natural. Now a note being lowered back to normal does not necessarily mean lowering back from sharp to natural, because it can also be lowering from a natural to a flat, like in the key of C Minor, the 7th note is Bb, and in the harmonic and melodic minor scales, going up raises it to B-natural, which another thing, raising does not necessarily take you to a sharp; it can also take you to a natural, so raising up a semitone from Bb takes you to B-natural; not a B#, and when you lower the B-naural back down again to the way it normally is in the key of C Minor, it is Bb again, because you never see the same natural note in back-to-back semitone-apart notes. Again, the melodic minor scale raises the 6th and 7th notes up a semitone, then they-re both lowered back to normal on the way down, but in the harmonic minor, only the 7th note is raised, and it stays raised the whole for both going up and going down, while note 6 stays the way it usually is.
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Answer to the sixth question: Well in a melodic minor scale, when you go up the scale, the 6th and 7th notes are raised up a half-step, then going down the scale, they-re lowered back to normal. Like in A Minor, the scale would normally go A, B, C, D, E, F, G, A, but in the melodic minor scale, it would go A, B, C, D, E, F#, G#, A, as the scale goes up, but when it goes back down, it goes G-natural, F-natural, E, D, C, B, A. -Natural- means regular, like a white note is not sharped or flatted, like it-s an A; not an A# or an Ab, but A, and that-s A-natural. But again, in melodic minor scales, notes 6 and 7 get raised when you go up the scale, but then on the way down you lower them back to normal. Now in a harmonic minor scale, there-s a little difference: note 7 is still raised, but note 6 remains the way it usually is. And unlike the raised 7th in melodic minor, the harmonic minor scale keeps note #7 raised the whole time for both going up and going down. So the harmonic minor scale of A goes as A, B, C, D, E, F, G#, A. And when you go down, it goes G#, F, E, D, C, B, A, and G stays as sharp; it doesn-t go back to natural. Now a note being lowered back to normal does not necessarily mean lowering back from sharp to natural, because it can also be lowering from a natural to a flat, like in the key of C Minor, the 7th note is Bb, and in the harmonic and melodic minor scales, going up raises it to B-natural, which another thing, raising does not necessarily take you to a sharp; it can also take you to a natural, so raising up a semitone from Bb takes you to B-natural; not a B#, and when you lower the B-naural back down again to the way it normally is in the key of C Minor, it is Bb again, because you never see the same natural note in back-to-back semitone-apart notes. Again, the melodic minor scale raises the 6th and 7th notes up a semitone, then they-re both lowered back to normal on the way down, but in the harmonic minor, only the 7th note is raised, and it stays raised the whole for both going up and going down, while note 6 stays the way it usually is.
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john
Answer to the eighth question: The 7th note. Like you start at C Major without any flats or sharps, and you go up a 5th to move on to G Major, if all the notes were to stay natural, it would be G, A, B, C, D, E, F, G, but F, which is the 7th note in G Major, if it stays natural, wouldn-t sound too right, so it should go G, A, B, C, D, E, F#, G, and that-s more proper to be the G Major scale.
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Answer to the eighth question: The 7th note. Like you start at C Major without any flats or sharps, and you go up a 5th to move on to G Major, if all the notes were to stay natural, it would be G, A, B, C, D, E, F, G, but F, which is the 7th note in G Major, if it stays natural, wouldn-t sound too right, so it should go G, A, B, C, D, E, F#, G, and that-s more proper to be the G Major scale.
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john
Answer to the ninth question: It-s the 4th note that we flat in major scales for the new flat. So again if you-re in C Major without any sharps or flats and you go down a 5th to F Major, again if everything stays natural, then the B note, which in this case is note number 4, the B would sound wrong if not flatted, so it should be Bb.
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Answer to the ninth question: It-s the 4th note that we flat in major scales for the new flat. So again if you-re in C Major without any sharps or flats and you go down a 5th to F Major, again if everything stays natural, then the B note, which in this case is note number 4, the B would sound wrong if not flatted, so it should be Bb.
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john
Answer to the tenth and last question: The key signature of Ab Minor would be 7 flats: Bb, Eb, Ab, Db, Gb, Cb, Fb. Interestingly, the first 4 flats here spell out the word -BEAD-, but there-s no such word as -gcf- (I think could be). And Ab Minor has all the flats and all of its notes are flatted.
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Answer to the tenth and last question: The key signature of Ab Minor would be 7 flats: Bb, Eb, Ab, Db, Gb, Cb, Fb. Interestingly, the first 4 flats here spell out the word -BEAD-, but there-s no such word as -gcf- (I think could be). And Ab Minor has all the flats and all of its notes are flatted.
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john
Answer to the seventh question: Yes, but I-m just gonna name one for this answer. The key of E# Minor has 1 double-sharp, which is F Double Sharp (Fx). The key of E# Minor is usually noted enharmonically as F Minor, since it-s much easier to read, and what would be Fx is noted as G instead.
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Answer to the seventh question: Yes, but I-m just gonna name one for this answer. The key of E# Minor has 1 double-sharp, which is F Double Sharp (Fx). The key of E# Minor is usually noted enharmonically as F Minor, since it-s much easier to read, and what would be Fx is noted as G instead.
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john
Answer to the third question: A relative key is a scale with the same key signature as another, despite having a different tonic. Like C Major and A Minor don-t share the same tonic, but they do share the same key signature: no flats and no sharps.
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Answer to the third question: A relative key is a scale with the same key signature as another, despite having a different tonic. Like C Major and A Minor don-t share the same tonic, but they do share the same key signature: no flats and no sharps.
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john
Answer to the fourth question: B Major, with F#, C#, G#, D# and A#, which make 5 sharps altogether. In fact, A#, which is the 5th sharp in the order of sharps, is the new sharp and the last sharp listed in the B Major key signature.
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Answer to the fourth question: B Major, with F#, C#, G#, D# and A#, which make 5 sharps altogether. In fact, A#, which is the 5th sharp in the order of sharps, is the new sharp and the last sharp listed in the B Major key signature.
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john
Answer to the fifth question: F Minor, which goes Bb, Eb, Ab and Db, with the new/final listed flat as Db, which is the 4th flat in the order of flats.
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Answer to the fifth question: F Minor, which goes Bb, Eb, Ab and Db, with the new/final listed flat as Db, which is the 4th flat in the order of flats.
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john
Answer to the second question: Because a list of minor keys, a list of major keys and a list of sharps and flats make 3 lists altogether.
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Answer to the second question: Because a list of minor keys, a list of major keys and a list of sharps and flats make 3 lists altogether.
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john
Answer to the first question: Because the order of keys increasing in sharps or flats go in fifths up or down, respectively.
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Answer to the first question: Because the order of keys increasing in sharps or flats go in fifths up or down, respectively.
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